John  and  Seth  Wells  Chene’ 

Catalogue 


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CATALOGUE 


OF  THE 


ENGRAVED  AND  LITHOGRAPHED  WORK 


JOHN  CHENEY 

AND 

SETH  WELLS  CHENEY 


The  foUowijig  works  by  Mrs.  Ednah  D. 
Cheney  have  beeji  published  by  Lee  ^ 
Shepard  : — 

MEMOIR  OF  SETH  W.  CHENEY,  Artist. 

Boston,  i88i.  vi  + i44PP-  Square  8vo.  With  portrait  and 
5 illustrations.  Bound  in  cloth,  $3.00. 

MEMOIR  OF  JOHN  CHENEY,  Engraver. 

Boston,  1889.  53  pp.  Square  8vo.  With  portrait.  Bound 

in  cloth,  $2.00. 

MEMOIR  OF  MARGARET  SWAN  CHENEY. 

Boston  1889.  32  pp.  Square  8vo.  Bound  in  cloth,  ^1.50. 

GLEANINGS  IN  THE  FIELDS  OF  ART. 

Boston,  1881.  345  pp.  8vo.  Bound  in  cloth,  $2.50. 


The  above  memoirs  can  be  had  in  sheets,  for  special  binding, 
at  the  same  price  as  bound  copies. 

The  Catalogue  of  the  Engraved  and  Litho- 
graphed Work  of  John  Cheney  and  Seth  Wells 
Cheney  can  be  furnished  in  the  same  way.  Price,  bound  or 
in  sheets,  ^2.50. 

LEE  AND  SHEPARD,  Publishers, 

10  Milk  Street,  Boston,  Mass. 


CATALOGUE 


OF  THE 


Engraved  and  Lithographed  Work 


OF 


JOHN  CHENEY 

AND 

SETH  WELLS  CHENEY 


COMPILED  BY 


S.  R.  K O E I I L E R 

Curator  of  the  Section  of  Graphic  Arts_.  U.  S,  National  Museum, 
Smithsonian  Institution,  Washington,  D.C.,  and  of 
THE  Print  Department,  Museum  of  Fine 
Arts,  Boston,  Mass. 


BOSTON 

L K AND  S 1 1 K P A R D Publish  e r s 

lo  Mii.k  St.  nkxt  “Tmc  Oi.o  South  Mki.tini;  IIousk” 

1891 


Copyright,  1801, 

By  S.  R.  Koehler. 


^SnibErsitg  l^rfss : 

John  Wilson  and  Son,  Cambridge, 


TABLE  OF  CONTENTS 


PAGE 

INTRODUCTION 5 

ENGRAVINGS  AND  LITHOGRAPHS  EXECUTED  BY  JOHN 
AND  SETH  WELLS  CHENEY,  ARRANGED  ACCORDING 
TO  DATES  OE  PUBLICATION:  — 


I.  John  Cheney 17 

II.  Seth  Wells  Cheney 97, 


III.  Outlines  and  Sketches  by  Washington  Allston, 


ENGRAVED  BY  JoiIN  AND  SeTH  WeLLS  ChENEY  . . 105 

CLASSIFIED  BINDING  LIST:  — 

I.  John  Cheney II7 

II.  Seth  Wells  Cheney I2I 

III.  Outlines  and  Sketches  by  Washington  Allston, 

ENGRAVED  BY  JoHN  AND  SeTH  WeLLS  ChENEY  . . 122 


LISTS  OE  ENGRAVERS  ASSOCIATED  WITH  JOHN  CHENEY, 
ARTISTS  WHOSE  WORKS  JOHN  AND  SETH  WELLS 
CHENEY  REPRODUCED,  AND  PORTRAITS  ENGRAVED 
BY  JOHN  CHENEY:  — 

Engravers  whose  Names  appear  as  Associates  of  John 
Cheney,  on  Plates  enumerated  in  tihs  Catalogue  . 127 

Painters,  Sculptors,  Designers,  Engravers,  and  Litho- 
graphers ACHosE  Works  avere  reproduced  by  J.  and 
S.  W.  Cheney,  so  far  as  they  are  knoavn  : — 


I.  JOHN  CHENEY 12S 

II.  SETH  AVELLS  CHENEY  1-^0 

Portraits  engraved  ry  John  Cheney  131 


IV 


TABLE  OF  CONTENTS. 


PAGE 

LIST  OE  BOOKS,  ETC.,  CONTAINING  ENGRAA^NGS 
AND  LITHOGRAPHS  BY  JOHN  AND  SETH  AYELLS 


CHENEY:  — 

I.  John  Cheney 135 

II.  Seth  AA^ells  Cheney 1 14 


ALPHABETICAL  LIST  OE  THE  AA'ORKS  OE  JOHN  AND 
SETH  AA^ELLS  CHENEY:  — 


I.  John  Cheney 119 

II.  Seth  AA^^ells  Cheney 153 


III.  Outlines  and  Sketches  by  AAA\shington  Allston, 

engraved  by  John  and  Setif  AA^ells  Cheney  . . 151 

APPENDIX  : — 

Letters  by  John  Cheney  in  the  possession  of  AIr. 

' Charles  Henry  Hart,  of  Philadelphia 157 


INTRODUCTION. 


This  Catalogue  is  the  outcome  of  admiration  and  of  re- 
o’ret,  — admiration  for  the  excellent  work  described  in  it, 
— regret  that  the  authors  of  this  work,  and  more  especially  John 
Cheney,  to  whose  graver  is  due  the  larger  part  of  it,  sliould  have 
lived  in  a place  and  at  a period  which  made  the  full  develop- 
ment of  artistic  genius  an  impossibility,  blighted  it  before  its 
time,  and  necessarily  robbed  it  of  the  fruits  which  were  its 
due. 

It  has  been  said  that  “ the  fate  of  genius  is  to  die  in  the  gut- 
ter and  have  its  name  misspelled  in  the  Gazette.”  The  asser- 
tion is  not  true,  on  the  whole,  more  especially  to-day,  and  it  goes 
without  saying  that  John  Cheney’s  character,  even  without  the 
well-known  enterprise  of  his  family,  would  have  made  the  ap- 
plication to  him  of  its  first  half,  if  only  as  a figure  of  speech, 
utterly  impossible.  But  one  is  forcibly  reminded  of  the  conclu- 
sion of  the  saying  by  the  treatment  he  received,  not  only  at  the 
hands  of  the  public  at  large,  hut  even  from  the  official,  although 
self-appointed,  guardians  of  the  fame  of  those  wlio  added  to  the 
glory  of  the  nation.  John  Cheney’s  best  engraved  work,  such 
plates  as  “The  Guardian  Angels,”  “Tlie  Young  Princess,”  “Les- 
hia,”  “ The  Orphans,”  “ The  Torn  Hat,”  “ Egeria,”  the  heads  of 
Mrs.  Blodgett  and  of  Martha  AYashington,  after  Stuart,  etc.,  and 
even  such  vignettes  as  tliat  described  under  'No.  38  of  his  work 
in  this  Catalogue,  are  uuexcelled  of  their  kind,  — in  delicacy 
where  needed,  in  force  and  in  suggestion  of  color  wliere  these 
are  called  for,  in  nobility  and  simplicity  of  workmanship  always. 


6 


INTRODUCTION. 


In  work  of  the  kind  which  it  fell  to  John  Cheney’s  lot  to  do, — 
plates,  that  is  to  say,  for  annuals  and  similar  books,  — he  stands 
at  the  head  of  the  engravers  of  his  time  in  his  country,  and 
shoulder  to  shoulder  with  those  of  Europe,  and  I cannot  agree 
with  my  friend  Charles  Henry  Hart  when  he  places  him  second 
to  Asher  Brown  Durand.  In  saying  this  I do  not  in  the  least 
challenge  the  merit  or  the  rank  of  Durand.  John  Cheney  never 
had  the  opportunity  — or  possibly  did  not  care  to  make  it  — to 
engrave  such  large  plates  as  Durand’s  “ Declaration  of  Indepen- 
dence” or  ‘'Ariadne  ; ” but  that  does  not  affect  the  quality  of  his 
work.  One  poet  may  write  only  sonnets,  the  other  may  aspire 
to  tragedies,  yet  both  may  be  equally  admirable.  The  limits 
imposed  by  circumstances  or  his  own  volition  upon  John  Cheney 
did,  however,  affect  his  fame  with  his  countrymen,  who,  caring 
little  enough  for  even  the  larger  work  of  Durand,  cared  still  less 
for,  and  soon  altogether  forgot,  the  smaller  work  of  Cheney.  It  is 
painful  to  note  how  few  persons  there  are,  even  anrong  those 
having  some  care  for  the  art  he  practised,  who  know  anything  of 
him,  and  how  he  is  sliglited  by  the  official  guardians  of  the  fame 
of  their  countrymen  above  alluded  to.  Thus  we  read  in  Allen’s 
“American  Biographical  Dictionary,”  hidden  away  in  a short 
notice  devoted  to  his  brother  Seth,  that  the  latter,  having  re- 
tired to  Manchester,  liad  there  built  a studio  together  “ with  his 
brother  John,  the  eminent  engineer.'"  Drake’s  “ Dictionary  of 
American  Biography,”  altliough  more  correct,  still  does  not  think 
liim  worthy  of  a separate  paragraph,  but  contents  itself  with 
speaking  of  him  as  tlie  brother  of  Seth,  who  “excelled  as  an  en- 
graver of  heads.”  Upon  this  again,  one  of  the  latest  authorities, 
Appleton’s  “ Cyclopasdia  of  American  Biography,”  refines  in  quite 
a peculiar  manner.  Of  a page  devoted  to  the  Cheney  family, 
two  lines  are  given  to  the  talented  engraver,  and  this  is  their 
import : “John  excelled  as  an  engraver  of  heads.  His  lorineipal 
work  is  a print  of  the  Madonna  di  San  Sisto  of  Raphael^  The 
information  here  added  to  the  meagre  statement  of  Drake  has 
the  distinction  of  being  absolutely  untrue,  as  John  Cheney  never 
engraved  the  Madonna  di  San  Sisto, 


INTRODUCTION. 


To  be  just,  however,  to  the  public  of  the  present  day,  it  must 
be  acknowledo'ed  that  the  ueoiect  which  has  befallen  John 

o o 

Cheney  is  capable  at  least  of  explanation.  His  activity  as  a 
recognized  engraver  extended  only  from  about  1828  to  about 
1853,  and  it  might  indeed  be  said,  with  some  show  of  truth,  to 
liave  ended  with  the  publication  of  tlie  better  class  of  annuals, 
or,  in  other  words,  about  1845.  Durand  had  already  abandoned 
engraving  ten  years  before,  upon  the  completion  of  his  ‘"Ariadne,” 
and  John  W.  Casilear,  whose  “ Sibyl  ” the  Art  Union  published 
in  1847,  followed  suit  in  1854.  The  annuals  were  ruined  by 
competition,  and  deteriorated  in  quality  to  such  a degree  that 
there  was  no  longer  any  place  in  them  for  work  of  the  excellence 
of  John  Cheney’s  and  of  his  better  fellow-engravers,  all  of  whom, 
so  far  as  they  remained  in  the  profession,  turned  their  attention 
to  bank-note  work.  John  Cheney  also  engraved  a few  bank- 
note dies ; but  what  little  he  did  after  the  year  1845  was  prin- 
cipally portrait  work,  for  tlie  execution  of  which  — compelled, 
no  doubt,  also  by  competition  — he  soon  called  in  the  services 
of  the  ruling  machine  to  an  extent  which  entirelv  changed  the 
character  of  his  productions.  His  first  attempt  of  the  kind  liere 
alluded  to  — the  portrait  of  X.  P.  Willis  (Xo.  92)  — is  by  far 
the  best,  and  after  a few  further  attempts  in  the  same  direction, 
whicli  manifestly  show  a decline  in  quality,  tlie  result,  a]ipar- 
ently,  of  weariness  growing  out  of  disappointment,  he  laid  down 
the  graver  forever  when  he  was  but  little  more  than  fifty  years 
of  age.  It  is  such  a review  of  his  career  which  leaves  behind 
feelings  of  regret,  — to  see  fine  powers  and  high  ambition  sac- 
lificed  to  the  vulgar  greed  of  gain.  I'or  not  only  was  John 
Cheney  left  without  employment  adeipiate  to  his  talents  by  the 
deterioration  of  the  annuals  and  the  general  abandoning  of  in- 
taglio engraving  for  book  illustration,  — the  fame  even  whieli 
he  had  .already  acriuired  w.as  snatched  from  him  by  the.  lua'd- 
le.ss,  iK)t  to  s.ay  dislionest,  use  made  of  a numbi'r  of  his  glati's, 
which  were  employed  over  and  oveu’,  worn  and  bailly  ])rinted  on 
wretched  ])a])ei’,  in  jmblications  gotten  u])  solely  for  tlie  ])urpose 
ot  cheating  the  ignorant  out  of  their  dollars.  iVml  here  we  may 


8 


INTRODUCTION. 


find  another  excuse  for  the  public.  If  John  Cheney’s  work  is 
seen  only  in  tlie  worthless  impressions  to  be  found  in  books  of 
the  class  just  spoken  of,  there  is  no  cause  for  wonder  that  it 
should  be  passed  over.  It  must  be  seen  in  proofs,  or  at  least  in 
the  good  impressions  published  in  the  earlier  and  better  annuals, 
such  as  “The  Token”  and  “The  Gift,”  to  be  fully  appreciated. 

Even  so,  however,  John  Cheney  has  not  been  without  appre- 
ciators.  Among  these  must  be  named  Mr.  W.  S.  Baker,  of  Phil- 
adelphia, whose  book  on  “American  Engravers  and  their  Works” 
shows  that  his  interest  in  the  older  masters  has  not  blinded  him 
to  the  merits  of  his  countrymen,  and  Mr.  Charles  Henry  Hart, 
of  the  same  city,  whose  Cheney  collection,  so  far  as  I know,  is 
the  largest  next  to  that  of  Mrs.  Ednah  D.  Cheney,  the  sister-in- 
law  of  the  engraver.  Of  the  public  collections,  that  which  bears 
the  name  of  its  founder,  John  S.  Phillips,  is  not  only  the  oldest, 
but  also  the  richest  in  Cheneys.  The  two  other  Cheney  collec- 
tions belonging  to  public  institutions,  those  namely  in  the  U.  S. 
National  Museum  at  Washington,  and  the  Museum  of  Eine 
Arts  at  Boston,  are  considerably  smaller,  and  owe  their  existence 
almost  entirely  to  the  generosity  of  Mrs.  Ednah  D.  Cheney. 

Seth  Wells  Cheney’s  career  as  an  engraver  is  less  calculated 
to  call  up  sad  reflections.  His  few  plates  give  evidence,  indeed, 
of  mastery  of  the  burin,  and  might  induce  one  to  wish  that  he 
had  continued  in  this  vocation  ; but  he  soon  found  more  conge- 
nial occupation  and  better  appreciation  as  a designer  of  portraits. 
As  a matter  of  course,  this  phase  of  his  activity  is  outside  of  the 
limits  of  these  pages. 

Eor  biographical  details  the  reader  is  referred  to  the  two 
memoirs  from  the  pen  of  Mrs.  Ednah  D.  Cheney  (“  Seth  W. 
Cheney,”  1881 ; “John  Cheney,”  1889),  both  published  by  Messrs. 
Lee  & Shepard,  of  Boston. 

If  it  were  feasible,  I would  prefer  not  to  publish  this  Cat- 
alogue for  some  years  to  come,  in  the  hope  of  being  enabled 
meanwhile  to  carry  it  nearer  to  completeness.  Other  duties 
compel  me,  however,  to  lay  the  work  aside  for  the  present,  and 


INTRODUCTION. 


9 


I must  therefore  give  it  to  the  public  as  it  is, — merely  as  a sys- 
tematic elaboration  of  notes  which  have  accumulated  for  some 
time,  and  to  wdiich  others  interested  in  the  subject  may  add. 
The  materials  at  my  command  — that  is  to  say,  the  collections 
to  be  mentioned  hereafter,  and  the  principal  libraries  of  Boston, 
Xew  York,  Philadelphia,  and  Washington  — I think  I may  claim 
to  have  conscientiously  utilized.  But  these  materials  alone  will 
not  suffice.  The  researches  made  in  the  libraries  named  must  be 
supplemented  by  patient  and  persistent  rummaging  in  second- 
hand bookshops,  carried  on  almost  at  random,  as  all  guides  are 
wanting.  I have  done  what  I could  in  this  direction,  but  the 
field  is  not  yet  exhausted.  Not  only  have  I been  unable  to 
trace  to  their  sources  all  the  prints  known  to  me,  — as  the  many 
cpiestion-marks  interspersed  throughout  the  lists  which  follow 
show  to  my  sorrow,  — but  it  is  more  than  likely  also  that  there 
are  still  other  plates  which  have  so  far  entirely  escaped  my 
knowledge.  This  is  especially  true  of  the  earlier  work  of  John 
Cheney.  There  is  a memorandum  extant,  for  instance,  that 
“John  engraved  some  pictures  of  Westall  and  one  of  Stothard’s 
for  a Bible  published  by  Silas  Andrus  in  1826,  in  Hartford, 
Conn.”  O’Callaghan’s  excellent  “ List  of  editions  of  the  Holv 
Scriptures  . . . printed  in  America  previous  to  1860,”  fails  to 
disclose  such  a book,  and  yet  it  may  exist.  Possibly,  however, 
the  plates  do  not  bear  John  Cheney’s  name,  i\s  they  may  have 
been  engraved  by  him  while  he  was  in  the  ein])loy  of  some  other 
engraver.  In  the  same  way  many  of  his  lithographs  may  be 
hidden  among  the  mass  of  ju'oductions  which  are  marked  simply 
“ Pendleton’s  Lith,”  without  naming  the  artist  who  made  the 
drawing  upon  the  stone. 

One  of  the  ])leasantest  tasks  in  the  writing  of  a preface  to  a 
compilation  such  as  this,  is  to  render  thanks  to  those  who  have 
helped  in  its  making.  AVorks  of  this  kind  are  truly  the  out- 
come of  co-operation,  and  it  is  rare  that  coin])(dition  or  ill-will 
endeavors  to  defeat  their  achievement  by  reliising  to  assist  or  to 
coinmunicato  the  results  of  indc})endent  research.  On  the  con- 
trary, nearly  every  one  is  ready  to  add  from  his  or  her  store  of 


10 


INTRODUCTION. 


knowledge,  and  I am  liappy  to  say  that  only  in  a single  instance 
have  I met  with  a refusal,  which  even  an  offer  of  money  could 
not  overcome.  This  being  so,  it  seems  almost  ingratitude  not 
to  return  thanks  individually  to  each  helper,  whether  such 
helper  be  a private  collector  or  an  officer  of  a public  library  or 
other  institution  ; but  the  list  would  be  altoo-ether  too  Ion"  I 
must  therefore  content  myself  in  this  place  with  a collective 
acknowledgment  of  indebtedness  to  those  whom  I have  persis- 
tently plied  with  questions  and  with  demands  for  loans  of  books 
and  prints,  which  would  have  been  inexcusable  had  their  aim 
been  more  selfish. 

The  mechanism  of  tlie  Catalogue  is  sufficiently  explained  by 
the  Table  of  Contents.  In  the  ])rincipal  or  descriptive  list  the 
plates  are  arranged  in  the  order  of  their  date  of  publication, 
wherever  that  could  be  ascertained,  wliile  to  those  plates  the 
date  of  publication  of  which  is  unknown,  dates  were  assigned 
which  seem  to  correspond  to  the  workmanship  displayed  in 
them.  It  may  be,  indeed,  that  these  dates  do  not  absolutely 
follow  the  order  of  production  of  all  the  jfiates,  but  tlie  arrange- 
ment adopted  is  certainly  sidficient  to  give  an  idea  of  the  devel- 
opment at  least  of  John  Cheney.  In  tlie  case  of  Setli  'Wells 
Cheney  it  is  less  satisfactory,  as  tlie  dates  of  ])roduction  and 
publication  appear  to  differ  considerably  for  some  of  his  plates. 
The  work  of  each  brother  has  naturally  been  kept  apart ; but 
with  the  “ Outlines  and  Sketches  after  Washington  Allston”  this 
was  not  possible.  They  were  published  as  the  joint  work  of 
both,  and  not  even  the  members  of  the  family  can  tell  which 
are  by  the  one  and  which  by  the  other,  while  internal  evidence 
is  entirely  wanting. 

It  is  quite  possible  that  I shall  be  accused  of  having  been  too 
prolix  in  the  descriptions  of  the  engravings,  and  of  having  made 
too  many  distinctions  in  the  Tinding  List.  In  defence  I beg  to 
say  that  an  excess  of  detail  can  hardly  be  given,  if  the  comfort 
and  the  benefit  of  the  collector  are  to  be  consulted.  The  de- 
scriptions usually  provided  in  catalogues  are  so  short  as  to  be 


INTRODUCTION. 


11 


useless  in  most  cases.  And  as  many  of  the  prints  under  con- 
sideration will  he  found  close  cut,  or  in  proofs  without  letter- 
ing, it  was  imperative  to  neglect  nothing  that  might  serve  to 
identify  each  individual  print.  The  Allston  ‘‘  Outlines  ” I have 
treated  more  summarily,  as  they  are  not  likely  to  occur  other- 
wise than  in  book-form. 

The  customary  classification  according  to  states,  including 
working  proofs,  has  been  departed  from.  The  finished  plate 
always  heads  the  list,  and  then  its  variations  are  traced  through 
the  different  books  in  which  it  appeared.  The  proofs  are  de- 
scribed by  themselves,  and  under  this  designation  are  included 
not  only  the  unfinished  trial  proofs,  but  also  all  impressions 
which  were  specially  and  carefully  printed,  usually  on  large 
paper  and  presumably  in  small  numbers,  and  not  intended  for 
insertion  in  the  books  for  which  tlie  plates  were  engraved.  In 
looking  for  such  proofs  the  collector  will  have  to  be  on  his  guard 
against  “false  proofs,” — that  is  to  say,  against  impressions  from 
the  finished  and  lettered  plates,  which  have  been  made  to  look 
like  proofs  before  lettering  by  wiping  out  or  covering  up  the 
lettering  before  the  impression  was  pulled.  There  are  many  of 
such  “ proofs  ” in  existence ; but  close  inspection  generally  re- 
veals some  trace  of  the  lettering.  I would  call  attention  also 
to  the  fact  that  of  many  of  the  plates  catalogued  — and  among 
these  unfortunately  most  of  the  very  best  — no  engraver’s  proofs 
have  come  to  my  notice.  This  is  doubtless  due  to  the  fact  that 
they  were  given  away  by  the  engravers,  both  of  whom,  and  es- 
pecially John,  seem  to  have  been  very  heedless  of  their  work. 
I^umljers  of  these  proofs  must,  however,  still  be  in  existence, 
and  it  is  to  be  hoped  that  the  publication  of  this  Catalogue  will 
draw  them  out  of  their  hiding-places.  The  best  their  possessors 
can  do  with  them,  to  their  own  and  the  engravers’  lasting  honor, 
will  be  to  deposit  them  permanently  in  some  public  collection^ 
I can  promise  that  either  of  the  institutions  with  which  I am 
connected  will  gladly  receive  and  carefully  treasure  them. 

Almost  all  the  engravings  and  lilhogra})hs  of  the  Cheney 
brothers  having  l)een  made  for  books,  a list  of  these  books  had 


12 


INTRODUCTION. 


to  be  provided.  The  fastidious  collector  will  care  only  for  the 
impressions  in  first  or  early  editions,  in  the  case  of  books  which 
went  through  a number  of  editions,  and  in  the  case  of  plates 
which  were  used  in  several  books,  only  for  those  which  show 
the  first  published  states.  Other  collectors,  who  have  a mania 
for  “ states,”  will  think  otherwise,  while  all  will  find  useful  the 
information  as  to  the  order  in  time  of  the  various  issues.  I must 
confess,  however,  that  I publish  this  list  of  books  with  some  mis- 
givings, lest  it  lead  to  their  wholesale  destruction.  Many  have 
been  destroyed  already,  thanks  to  the  indifference  of  those  who 
look  upon  these  American  productions  as  beneath  their  notice, 
a few  owing  to  the  infatuation  of  picture  collectors,  who  care 
only  for  the  pictures  and  throw  away  the  text.  If  the  true 
print-collector  should  now  turn  his  attention  to  them  more 
than  heretofore,  their  lives  will  be  still  further  endangered, 
and  it  is  with  the  print-collector  that  I would  plead  against 
their  slaughter.  To  him  I would  say,  if  you  respect  the  work 
of  the  Cheneys,  leave  it  in  the  jdace  for  which  it  was  originally 
intended.  Keep  a sharp  lookout  for  })roofs,  many  of  which  must 
be  floating  about,  and  if  you  find  an  incomplete  copy  of  a book 
with  the  plates  you  are  in  search  of,  — amr there  are,  alas! 
many  such  incomplete  copies,  — take  them  out.  Hut  do  not 
destroy  complete  copies  in  good  order.  The  list  given  in  this 
Catalogue  shows  that  a collection  of  books  containing  plates  by 
the  brothers  Cheney  is  of  a nature  to  fill  with  pride  any  Ameri- 
can collector;  for  it  contains  not  only  annuals,  but  also  first, 
or  at  least  early,  editions  of  the  collected  poems  of  most  of  the 
best-known  American  poets  of  the  past,  and  in  the  annuals  — 
these  despised  light  productions  of  a less  cultured  age  — will 
be  found  many  an  early  contribution,  not  only  by  the  poets,  but 
also  by  some  of  the  best  prose  writers  of  America.  Nor  are 
these  annuals  as  a class  to  be  proscribed  as  utterly  unworthy 
the  attention  of  the  serious  collector.  A complete  set  of  “ The 
Token  ” and  of  The  Gift,”  in  good  condition  and  in  the  original 
bindings,  is  worthy  of  a place  in  the  choicest  library,  even  if 
looked  upon  only  as  pretty  specimens  of  book-making.  As  it  is 


INTRODUCTION. 


13 


not  at  all  an  easy  matter  to  bring  such  sets  together,  that  fact 
will  perhaps  be  an  incentive  to  their  preservation. 

The  following  collections  are  frequently  referred  to  in  the 
succeeding  lists,  designated  by  the  abbreviations  here  given : 

United  States  National  Museum,  Smithsonian  Institution,  Washing- 
ton, D.  G.  (U.  S.) 

Museum  of  Fine  Arts,  Boston,  Mass.  (M.  F.  A.) 

Phillips  Collection,  Pennsylvania  Academy  of  the  Fine  Arts,  Phila- 
delphia, Pa.  (Ph.) 

Mr.  Charles  Henry  Hart,  Philadelphia,  Pa.  (H.) 

Dr.  L.  P.  Koecker,  Philadelphia,  Pa.  (K.) 

Mrs.  Electa  W.  Goodman,  Lenox,  Mass.  (G.) 

Mrs.  F.  W.  Cheney,  South  Manchester,  Conn.  (F.  W.  C.) 

Mrs.  Ednah  D.  Cheney,  Jamaica  Plain,  Mass.  (E.  D.  C.) 

The  three  collections  last  named,  belonging  to  members  of  the 
family,  consist  in  large  part  of  the  proofs  left  behind  by  the 
engravers  themselves.  Naturally  they  formed  the  starting-point 
of  this  Catalogue.  They,  as  well  as  the  collection  of  Mr.  Charles 
Henry  Hart,  were  generously  placed  in  my  keeping  during  the 
making  of  this  Catalogue.  One  or  two  smaller  collections,  util- 
ized while  the  work  was  in  progress,  have  been  named  in  full 
where  referred  to. 

Measurements  are  given  in  millimetres  and  in  inches.  They 
were  invariably  taken  through  the  centre  of  the  print.  Breadtli 
is  always  given  first,  height  second.  In  the  case  of  vignettes, — 
that  is  to  say,  of  representations  without  definitely  limited  out- 
line,— a rectangle  has  been  supposed  to  have  been  drawn  around 
them,  so  as  to  touch  the  extreme  limits  of  the  work  on  each  side. 
It  is  almost  needless  to  say  tliat  measurements  of  prints  must 
of  necessity  be  only  a])proximate,  as  they  are  aflected  by  tlie 
quality  of  the  paper  and  the  conditions  of  the  atmosidiere. 

“Bight ’’and  “left”  are  to  1)C  taken  as  usually  employed  in 
tlie  description  of  prints,  that  is  to  say,  from  tlie  |)osi(ion  of  tlie 
spectator,  so  that  the  right  side  of  a print  is  opposite  his  right 


u 


INTRODUCTION. 


hand,  arid  the  left  opposite  his  left.  On  the  other  hand,  the 
same  terms,  when  applied  to  a person  or  an  animal  represented, 
are  used  as  they  would  he  ordinarily.  Thus  the  right  hand  of  a 
man  represented  in  front  view  is  on  the  left  side  of  the  print; 
whereas  the  same  hand  of  a man  seen  from  the  hack  is  on  the 
right  side  of  the  print. 

Technical  descriptions  have  not,  as  a rule,  heen  given.  Where 
nothing  is  said  to  tlie  contrary,  it  is  understood  that  the  plate 
in  question  is  an  engraving  on  steel,  — occasionally,  perhaps, 
on  co})[)er,  — executed  according  to  the  usual  modern  method, 
that  is  to  say,  forwarded  hy  etching,  and  finished  with  the 
graver. 


I have  already  stated  that  this  Catalogue  does  not  lay  any 
claim  to  completeness,  and  I can  hardly  ho])e,  furthermore,  that 
it  will  not  he  found  marred  hy  error.  In  this  knowledge  I 
bespeak  the  reader’s  leniency,  and  1 shall  always  he  gratetul  for 
corrections  and  additions. 

S.  It.  KOEHLER. 


Museum  of  Fine  Arts, 

BusroN,  Mass.,  August,  ISOO. 

r.  8.  Since  the  above  was  written,  lUi-s.  EJiiah  D.  Cheney  has  presented 
to  the  Mnseuin  of  Fine  Arts,  Boston,  all  the  duplicates  and  nearly  all  the 
nntinished  trial-proofs  in  her  possession,  thus  making  the  Cheney  collection 
belonging  to  the  Museum  numerically  the  largest,  if  states  are  included, 
and,  next  to  her  own,  the  most  complete  at  present  in  existence. 

The  admirable  portrait  of  John  Cheney,  which  serves  as  a frontispiece 
to  this  catalogue,  was  specially  engraved  for  it,  from  a photograph,  by 
Mr.  S.  A.  Schoff. 


ENGRAVINGS  AND  LITHOGRAPHS 


EXECUTED  BY 


JOHN  AND  SETH  WELLS  CHENEY, 


ARRANGED 


ACCOEDING  TO  DATES  OF  PUBLICATIOK 


I.  JOHN  CHENEY. 


1801-1885. 


1820?  1.  Early  Trial-Plate. 

A YOUNG  woman,  bareheaded  and  barefooted,  seated  on  the 
ground  in  a landscape,  turned  towards  the  left.  Her  left  arm 
rests  on  a rock  ; in  her  lap  is  a book,  supported  by  the  right  hand, 
in  which  she  is  reading,  pointing  out  the  place  with  the  index  finger 
of  the  left  hand.  Vignetted.  Below  on  the  right : J.  Cheney  sc. 
Above  and  to  right  and  left  of  this  vignette,  various  other  trials 
of  graver  and  etching-point,  among  them  the  left  arm  of  the  figure 
twice  repeated.  Below  the  vignette  some  attempts  at  lettering,  an  A, 
and  the  words  ^as(  Hartford,  with  flourishes. 

Plate-mark  : 85  X ^>8  mm.  (3j\  X 2^^'. ) 

[The  plate  is  in  the  pos.session  of  Mrs.  Ednah  D.  Cheney.] 


1821.  2.  Reward  of  Merit. 

Six  boys  or  young  men  in  shirt-sleeves  are  playing  ball.  The  ball 
is  in  the  air  in  the  middle  of  tlio  sky.  At  the  left  two  lookers-on  are 
.seated  on  a log,  on  the  right  stands  anotlier.  On  the  extreme  h'ft 
part  of  a large  tree  is  seen,  on  the  right  a grove  of  poplars.  In  the 
background  a school-house,  a church,  and  other  houses,  two  ])0[)lars, 
busiios,  and  a hill.  Octagon,  oblong,  surrounded  by  two  line  lines, 
with  a heavier  one  between  them.  On  the  right,  below,  lu'twecMi  the 
lieavy  and  the  lighter  border-line  : 2’d  Idato.  Outside  of  the  bordcr- 

2 


18 


ENGRAVINGS  AND  LITHOGRAPHS 


line?  : J.  Cheney  Sc.  1821.  | Reward  of  Merit.  [ To  M from  h 
teacher  | . 

Engraved  surface  from  outer  border-line  to  outer  border-line:  137  X 67  mm. 

(5f  X 2r0 

Plate-mark  : 154  X 97  mm.  (6jg  X Syf"  ) 

[The  plate  is  in  the  possession  of  Mrs.  Ednah  D.  Cheney.  See  “ Memoir 
of  John  Cheney,”  page  10.  As  it  is  dated  and  marked  “ 2’d  Plate,”  it  is  a 
reliable  document  for  the  early  history  of  the  engraver.] 


1821?  3.  Trial-Plate:  Lion  Monkey. 

The  principal  object,  in  the  upper  part  of  the  plate,  is  a monkey, 
with  its  name  above  it : Lion  Monkey.  Around  the  monkey  are 
lines  of  various  kinds  and  in  various  combinations,  scrolls,  two  heads 
in  profile,  an  eye,  etc.  In  the  upper  left-hand  corner : J ohii  Cheney, 
reversed,  and  under  it : John,  running  from  left  to  right,  both  in 
very  small  script.  In  the  lower  half  of  the  plate,  — which  is  left  bare, 
with  the  exception  of  some  scratches,  — engraved  in  script : Charles 
Cheney,  as  for  a visiting-card. 

Plate-mark  : 84  X 106  mm.  (3^^  X 4jY^) 

[The  plate  is  in  the  possession  of  Mrs.  Ednah  D.  Cheney.  It  seems  to 
bear  the  relation  of  a preliminary  study  to  the  sheet  of  Rewards  of  Merit 
which  follows.] 

1821  ? 4.  A Sheet  of  Eight  Rewards  of  Merit. 

Eight  Rewards  of  Merit,  representing  animals,  vignetted,  engraved 
on  one  plate  arranged  as  shown.  No.  1.  An  elephant^  standing,  in 

profile  to  right ; huts  and  trees  in  the  distance. 

Underneath  : by  attention  to  h — | studies 

merits  my  esteem | . No.  2.  A duck,  swim- 

ming towards  the  right,  wdth  three  ducklings. 
Bushes  in  the  background.  Underneath : This 
certifies  that  by  | diligence  and  good  be- 
haviour merits  the  j approbation  of  In- 
structor   I . No.  3.  A hen,  in  profile  to  right,  with  her  brood,  one 

of  which  sits  on  her  back ; farm-houses,  trees,  etc.,  in  the  background. 


00 

9 

1 

9 

1 

CO 

to 

J 

EXECUTED  BY  JOHN  CHENEY. 


19 


Underneath : by  attention  to  h — | studies  merits  my  esteem 

j . ^^0.  4.  A mastiffs  Ijhig  on  the  ground,  in  profile  to  right. 

Behind  him  the  kennel,  bales  and  barrels,  the  masts  and  sails  of  a 

ship,  and  the  corner  of  a house.  Underneath  : by  diligence  & 

good  I behaviour  merits  my  esteem | . No.  5.  A fox,  running  to- 

Avards  the  left.  To  right  part  of  a fence,  bushes,  etc. ; in  the  distance 

at  the  left  a house.  Underneath:  This  Certifies  that  by — j 

diligence  & attention  to  h — studies  merits  | my  approbation | . 

No.  6.  Two  'partridges,  the  one  on  the  right  turned  to  left,  the  one 
on  the  left  to  right.  On  the  right  the  edge  of  a grain-field  ; to  left  in 
the  distance,  Avater  and  hills.  Above,  a straight  line,  and  under  it : 
Partridge.  The  lettering  underneath  is  cut  off  on  the  only  sheet  of 
these  reAvards  A\diich  I have  seen.  No.  7.  A Guinea  pig,  lying  on  the 
ground,  in  profde  to  left.  Behind  it  to  right  a kennel,  to  left  a fence. 

Underneath  : This  Certifies  that  by  | diligence  & attention 

to  h — studies  merits  | my  approbation [ . No.  8.  A buffalo, 

standing,  in  prohle  to  right.  In  the  background  a rock,  four  palm- 
trees,  tAvo  on  either  side,  and  bushes.  Underneath  : This  Certifies 

that  by  | diligence  & attention  to  h — studies  merits  | my 

approbation  | . 

The  plate  is  divided  by  lines  into  eight  compartments,  each  compartment  cor- 
responding to  one  of  the  rewards  and  measuring  about  115X57  mm. 
(Abt.  44X2U-)  Plate-mark:  ? X ?. 

[The  description  above  given,  from  a sheet  in  the  possession  of  Mrs. 
Ednah  D.  Cheney,  evidently  represents  a proof-state.  There  exist  proofs 
of  Uos.  3 and  4,  and  Nos.  7 and  8 (M.  F.  A.),  in  each  case  the  pair  on  one 
sheet,  Avhich  show  a light  border-line  and  the  names  of  the  animals,  i.  e., 
Hen,  Mastin',  Guinea  Pig,  Buffalo,  above  the  respective  animals.  There 
have  also  been  added,  in  the  free  .space  left  on  either  side  of  the  animals, 
the  Avords  : ReAvard  (on  the  lelt),  and  of  merit  (on  the  right),  surrounded 
by  Avreaths  of  flowers,  grasses,  etc.] 


1827.  5.  “ Or  lisps  with  holy  look  his  evening  prayer.” 

The  interior  of  a bedchamber.  A bed  Avith  curtains  is  ]mrtly  seen 
on  the  right.  Part  of  a chair  or  stool,  Avith  a garment  ui)on  it,  on  the 
left,  an  arm-chair,  a straight-backed  chair,  and  a Avashstand  Avith  basin 
and  oAvcr,  in  the  background,  complete  the  furniture  of  the  room.  On 


20 


ENGRAVINGS  AND  LITHOGRAPHS 


the  wall  above  the  straight-backed  chair  hangs  a portrait.  In  the 
background  is  a window  in  several  divisions,  with  lozenge-shaped 
panes,  draped  with  a curtain.  A lady  sits  in  the  arm-chair,  turned  to 
right,  and  before  her,  the  folded  hands  upon  her  knees  and  looking  up 
into  her  face,  kneels  a child  in  prayer.  Rectangle,  with  a border-line 
close  to  it ; two  other  lines  all  around,  about  2 mm.  from  the  margin 
of  the  rectangle. 

Engraved  surface,  Avithout  the  lines  : 57  X 70  mm.  (2f  X 

With  the  lines  : 62  X 74  mm.  (2f^g  X 2^1".) 

Plate-mark  : 96  X 156  mm.  (3j|  X 6|-'h) 

Published  in 

1.  The  Poetical  Worhs  of  Thomas  Camjfbell^  1821  ^ as  the  frontispiece. 

Outside  of  the  border-lines,  above  : Campbeirs  Poems  [ . Under- 
neath : R.  Westall  del.  J.  Cheney  sc.  | “ Or  lisps  with  holy  look 

his  evening  prayer  ” ] p.  22  | Boston  | Munroe  & Francis  | 1827  1 . 
(See  “ List  of  Books,  etc.”) 

2.  The  plate  is  in  the  possession  of  J.  C.  Buttre,  New  York,  who 

publishes  impressions  from  it,  lettered  underneath  : R.  Westall 
del.  J.  Cheney  sc.  | “ Or  lisps  with  holy  look  his  evening 

prayer”  | p.  22  | . 

Proofs. 

Before  any  lettering.  (G.) 

1828.  5a.  Title  Vignette. 

Lithograph.  A child,  bareheaded,  crossing  a river  on  stepping- 
stones  towards  the  right,  and  carrying  a young  dog.  A larger  dog, 
looking  up  towards  the  child,  is  behind  it  in  the  water.  On  either 
side  aquatic  plants.  In  the  distance  a water-mill  and  the  dense  foliage 
of  trees.  Executed  in  crayon.  Vignetted. 

Extreme  limits  of  the  drawing  : 57  X 35  mm.  (2^  X If''.) 

Published  in 

The  Juvenile  Souvenir^  1828,  on  the  title-page,  with  the  folloAving  letter- 
ing, printed  from  a copper-plate  : The  I Jinmnile  Souvenir  | By  the  [ 
Editor  of  the  Juvenile  Miscellany.  | (Vignette.  On  the  extreme 
right,  under  one  of  the  stepping-stones:  J.  C. — , in  lithographic 
crayon.)  | You  need  hit  look  up  in  my  face,  | As  if  I ’d  let  poor 


EXECUTED  BY  JOHN  CHENEY. 


21 


Tillo  fall  ; ] My  foot  is  on  a nice  safe  place,  | And  mother  says  I hn 
growing  tall,  j | Boston.  | Marsh  & Capen  N?  362  Wash- 

ington I And  John  Putnam. 

[I  am  compelled  to  number  this  lithograph  5a,  as  it  was  brought  to  my 
notice  only  after  the  MS,  had  been  collated  and  sent  to  the  printers.  A 
change  in  the  numbers  throughout  would  necessitate  also  the  changing  of 
the  numbers  in  all  the  lists  which  follow,  and  this  is  a task  which  I cannot 
at  present  undertake.] 

1828.  6.  The  Orphan. 

Lithograph.  A little  girl  standing  in  a rustic  graA^e-yard,  facing 
towards  the  right,  her  hands  joined  in  prayer.  Over  her  head  is  tied 
a kerchief.  She  stands  before  a cross,  to  Avhich  is  tied  a branch  of  a 
tree.  In  the  foreground  a stone  wall,  with  the  entrance  to  the  grave- 
yard, the  Avooden  gate  of  Avhich  is  loose  and  leans  against  the  wall  to 
the  right.  On  the  left  a bare  tree,  over  Avhich  trails  a creeper.  In 
the  distance  to  the  right  a church-steeple.  The  effect  is  somewhat 
that  of  a snow-scene,  although  the  A^egetation  on  the  ground  contra- 
dicts it.  Executed  in  crayon.  Eectangle. 

Size  of  the  drawing  ; 66  X 83  mm.  (2y\  X 3^^) 

Published  in 

The  Juvenile  Souvenir,  1828,  opp.  p.  5,  lettered  underneath  : J.  Cheney 
del  Pendleton  Lith.  ] The  Orphan  [ . 

1828.  7.  The  Little  Irish  Girl. 

Lithograph.  A girl  carrying  upon  her  head  a bundle  of  fagots, 
Avbich  she  supports  Avith  her  right  hand,  and  in  her  left  hand  a basket, 
walking  toAvards  the  right.  She  Avears  a hood,  from  under  Avhich 
escape  ringlets,  and  an  apron.  A little  child,  bareheaded,  Avalks  on 
her  left  side  and  carries  some  fagots  over  the  left  shoulder,  support- 
ing them  Avith  both  hands.  The  child’s  face  is  seen  full  front.  The 
two  are  just  about  to  cross  a ])lank  laid  over  a brook.  Immediately 
behind  thean  two  trees,  to  the  left  a fence  Avith  a stej)  for  crossing  it, 
to  tlie  riglit,  farther  aAvay,  part  of  a cottage.  Executed  in  crayon, 
licctangle. 

Size  of  the  (hawing  : 66  X 82  mm.  (2^'’^  X 3J,<A) 


22 


ENGKAVINGS  AND  LITHOGRAPHS 


Published  in 

The  Juvenile  Souvenir,  1828,  opp.  p.  60,  lettered  underneath  : J.  C — 
del.  Pendleton  Lith  [ The  Little  Irish  Girl  | . 

1828.  8.  The  Happy  Family. 

Lithograph.  A boy  and  a girl,  walking  towards  the  right,  the  girl 
carrying  a smaller  child  in  her  arms.  The  boy  wears  a hat  and 
carries  a braided  basket,  with  a cloth  in  it,  on  his  right  arm,  and  a 
burden  on  his  back.  The  other  two  children  are  bareheaded.  On 
the  left  side  of  the  girl  (to  the  right  of  her  in  the  picture)  and  back  of 
her,  a dog  is  partly  seen.  To  the  left  a cottage  among  trees;  to 
the  right  a brook  and  a view  of  distant  hills.  Executed  in  crayon. 
Eectangle. 

Size  of  the  drawing;  66  X 82  mm.  (2^^g  X 3j\A) 

Published  in 

The  Juvenile  Souvenir,  1828,  opp.  p.  127,  lettered  underneath  : J.  C — 
del.  Pendleton  Lith  | The  Happy  Family  | . 

1828?  9.  The  Gipsey  Girl. 

Lithograph.  A little  girl,  bareheaded  and  barefooted,  is  sitting  on 
the  ground,  her  back  towards  the  left,  leaning  against  an  earth-bank, 
her  feet  towards  the  right,  the  face  turned  towards  the  spectator.  She 
supports  herself  on  her  right  hand,  which  rests  upon  the  ground,  her 
left  is  in  her  lap,  which  is  filled  with  fruit  or  flowers.  On  the  ground 
by  her  side,  partly  covered  by  her  right  hand,  is  a stick,  extended 
almost  parallel  to  the  lower  margin.  On  a level  with  her  head,  close 
to  the  left-hand  margin,  is  a large  butterfly.  Bushes  and  trees  in  the 
background,  with  a glimpse  of  distance  to  the  right.  Executed  in 
crayon  and  ink.  Rectangle,  defined  by  a line. 

Size  of  drawing  : 70  X 90  mm.  (2|  X 3^".) 

The  only  impression  I know  of  is  a proof,  on  India  paper,  in  ^Irs.  Ednah 
D.  Cheney’s  possession,  lettered  underneath  : Pendletons  LithogI  | 
The  Gipsey  Girl.  | J.  Cheney  del.  from  H.  Howard. 


EXECUTED  BY  JOHN  CHENEY. 


23 


1828.  10.  The  Broken  Heart. 

Lithograph.  A vaulted  crypt,  two  bays  of  which  are  seen.  Two 
monks  are  in  the  act  of  lowering  a corpse  in  winding-sheets  into  a 
grave  in  the  floor.  At  the  foot-end  of  the  grave,  on  its  farther  side 
and  to  the  right,  a kneeling  monk.  Two  other  monks  stand  to  the 
left  of  the  kneeling  figure,  also  on  the  farther  side  of  the  grave,  the 
one  farthest  to  the  left  holding  a long  lighted  taper.  Executed  in 
crayon  and  ink.  Eectangle. 

Size  of  drawing  : 80  X 106  mm.  (3^  X 

Published  in 

The  Memorial^  1828,  Underneath:  Pendletons  Lith.  J.  C. 

del.  I The  Broken  Heart. 

1828.  11.  Blennerhassetts  Island. 

Lithograph.  A landscape  with  a stream  running  through  it.  In 
the  foreground,  on  the  right  and  the  hither  side  of  the  river,  a hoard 
hut  with  a door  and  one  window  in  the  front,  and  one  window  in  the 
gable  end.  To  the  right  of  the  hut  part  of  a fence,  consisting  of  two 
posts  and  a cross  rail,  leaning  towards  the  right.  On  the  farther  side 
of  the  river,  somewhat  to  the  left  of  the  middle  of  the  picture,  a house 
■with  a door  and  five  windows  in  its  front,  and  to  the  left  of  it  a post, 
with  a long  lever  attached  to  it  for  drawing  water.  Large  trees  at  the 
right  as  well  as  at  the  left  side  of  the  picture,  but  on  opposite  sides 
of  the  stream.  Hills  in  the  distance.  Executed  in  crayon  and  ink. 
Eectangle  defined  by  a line. 

Size  of  drawing  : 109  X 71  mm.  (4^  X 21|'f) 

Published  in 

The  J\[rmorial,  1828,  opp.  p.  200.  Umlerneatli  : Edgar  Pendletons 
Litho.  Cheney.  ] Blennerliassetts  Island. 

Variation. 

There  is  another  version  of  tliis  litliograph,  answering  to  the  general 
desciiption  given  above,  hut  varying  in  the  following  (Kdails;  — The 
drawing  is  in  crayon  only.  The  rectangle,  defined  by  a line  drawn 


24 


ENGRAVINGS  AND  LITHOGRAPHS 


with  the  pen,  measures  110  XV2  mm.,  and  another  line  has  been 
drawn  around  it  at  about  1 mm.  distance,  making  the  dimensions 
of  the  whole  113  X 75  mm.  X Underneath:  Edgar 

Pinxt.  Lith  of  Pendleton.  J.  Cheney  del.  | Blennerhas- 

setts  Island.  | Published  by  True  & Greene  Boston  ] . As  True  & 
Greene  were  the  publishers  of  “ The  Memorial,”  it  is  probable  that 
the  two  versions  were  made  for  the  same  book,  owing  to  the  break- 
ing of  the  stone  or  some  other  accident.  There  is  a proof  of  this 
version,  on  unmounted  India  paper,  in  the  possession  of  Mrs.  Ednah 
D.  Cheney.  The  punctuation  of  the  last  line,  as  here  given,  may  not 
be  correct,  as  this  line  is  partly  cut  away  in  the  ]3roof. 


1828.  12.  On  the  Mohawk. 

Lithograph.  A landscape,  with  a stream  running  through  it,  which 
forms  a low  waterfall  in  the  foreground  on  the  right.  In  the  middle 
of  the  foreground  a mass  of  bowlders,  to  the  left  what  appears  to  be  a 
rock  formation  of  a curiously  cubic  structure,  with  a trend  towards  the 
left.  At  the  base  of  this  formation  two  figures,  one  standing,  the 
other  crouching.  On  the  right  two  deciduous  trees,  and  one  almost 
bare  evergreen  tree  leaning  towards  the  left.  On  the  left  one  decidu- 
ous tree,  and  two  almost  bare  evergreen  trees  leaning  towards  the  right. 
In  tlie  middle  distance  water.  On  the  farther  side  of  the  stream,  trees, 
and  beyond  them  a hill.  Executed  in  crayon  and  ink.  Eectangle 
defined  by  a line. 

Size  of  drawing  : 109  X 72  mm.  (4j\  X 2^".) 

Published  in 

The  Memorial,  1828,  opp.  p.  397.  Underneath  : Edgar  del.  Pen- 
dletons Litho.  Cheney.  | On  the  Mohawk. 


1828  ? 13.  Devotion. 

Lithograph.  A young  woman,  turned  towards  the  right,  kneeling 
and  praying  at  the  side  of  a bed  with  a tester  over  it,  a harp  lying  in 
the  foreground.  Executed  in  crayon.  The  drawing,  without  defi- 
nite limit,  was  originally  surrounded  by  a line  (see  E"o.  14)  ; but 
as  the  only  copy  I know  of  is  cut  so  as  to  show  only  traces  of  the 
line  on  one  side,  the  measurements  with  the  line  cannot  be  given. 


EXECUTED  BY  JOHN  CHENEY. 


25 


Extreme  limits  of  the  work,  exclusive  of  lettering:  137X215? mm. 

X 8i  r.) 

The  impression  above  described,  in  the  possession  of  Mrs.  Ednah  D. 
Cheney,  to  whom  it  was  given  by  Mr.  Geo.  Doane  Rand,  of  Portland, 
Me.,  is  lettered  underneath  : J.  Cheney  del.  from  R.  Cosway  R.  A 
Pendleton’s  Lith  | Devotion  | . 

1828  ? 14.  Study. 

Lithograph.  A young  woman,  seated,  turned  to  the  left,  reading 
from  a book  which  she  holds  with  her  right  hand,  while  with  the  left 
she  caresses  a dog  at  her  side.  The  drawing  is  without  definite 
limit,  but  it  is  surrounded  by  a line,  forming  a rectangle,  which 
encloses  also  tlie  lettering.  Executed  in  crayon,  evidently  as  a 
companion  to  “Devotion.”  (See  ISTo.  13.) 

Extreme  limits  of  the  work,  exclusive  of  lettering  : 134  X 193  mm. 

(5iX7r-) 

With  the  border-line  : 139  X 233  mm.  (5|  X 9jV'.) 

I know  of  only  two  impressions,  one  in  the  possession  of  Mr.  Geo.  Doane 
Rand,  of  Portland,  Me.,  the  other  in  the  collection  of  Mrs.  Ednah 
D.  Cheney,  both  lettered  underneath  : J.  Cheney  del.  from  R. 
Cosway  — Pendleton  Lith  | Study  ^ | . Mrs.  Cheney’s  copy  is 
torn  and  soiled,  and  on  its  face  some  one,  apparently  John  Cheney 
himself,  has  recorded  the  score  of  a chess  or  checker  match  between 
R and  C,  in  which  C won. 

1828.  15.  The  Soldier’s  Widow. 

A woman,  poorly  clad  and  crying,  her  eyes  lifted  to  heaven,  is  walk- 
ing towards  the  left.  On  her  back,  in  a shawl  fastened  over  her  shoul- 
ders, she  carries  a sleeping  babe,  easing  the  burden  with  her  hands, 
Avhich  she  crosses  upon  her  back  under  the  child.  In  advance  of  the 
woman  walks  a boy,  who  looks  up  to  her  and  carries  over  his  shoul- 
ders a soldier’s  side-arm,  to  which  is  strung  a bundle  and  what  appears 
to  })e  a shako.  Landscape  background.  In  the  middle  distance,  at 
the  extreme  left,  is  seen  part  of  a large  farm-house.  Rectangle,  sur- 
rounded, at  a distance  of  about  2 mm.,  by  one  line  above  and  on  the 
right,  by  two  lines  below  and  on  the  left. 


26 


ENGRAVINGS  AND  LITHOGRAPHS 


Engraved  surface,  without  the  lines  : 67  X 87  mm.  (2|  X 
With  the  lines  : 70  X 91  mm.  (2|  X 
Plate-mark  ; ? X ? 

Published  in 

The  Tolcen,  1828,  opp.  p.  76.  Underneath  : Scheffer  Cheney.  ] The 
Soldier’s  Widow  \ Published  by  S.  G.  Goodrich  Boston  | . 


1829.  16.  Title-page. 

A young  woman  in  ideal  costume,  bareheaded  and  barefooted,  sitting 
upon  a grassy  bank,  holds  upon  her  lap  a nest  with  an  egg  in  it,  out 
of  which  has  crept  a Cupid ; behind  her,  trees,  bushes,  and  sky,  and 
to  the  right  a low  waterfall,  the  whole  surrounded  by  an  oval  wreath, 
resting  on  grassy  ground,  and  formed  of  roses,  tulips,  passion-flowers, 
etc.  Into  the  lower  part  of  the  wreath  are  introduced  a lyre  and  a 
book,  into  the  upper,  two  doves  billing.  The  -wreath  is  again  sur- 
rounded by  a rectangle,  filled  in  with  horizontal  wave-lines.  TYitbin 
this  rectangle,  above  the  wreath,  in  white  capitals  : The  Token. 
Below,  also  within  the  rectangle,  on  a tablet  shaded  by  perpendic- 
ular lines,  in  white  capitals  : Boston,  published  by  S.  G.  Goodrich. 

Engraved  surface  r 73  X 115  mm.  (2|  X 
Plate-mark  ; ? X ? 

Published  in 

The  Token,  1829.  Underneath  : Fragonard  del.  J.  Cheney  sc. 

Proofs. 

Preliminary  etching  of  the  wreath  and  the  landscape  background,  the 
figure,  except  the  hair,  only  outlined  in  very  delicate  dots.  The  size 
of  the  rectangle  indicated  by  cross-marks  at  the  corners.  (G.  The 
lettering  is  partly  indicated  on  this  proof  in  pencil.  On  the  back  is 
a pencil  sketch  of  the  head  of  a young  woman  with  flying  hair.) 


1829.  17.  The  Seaman’s  Widow. 

A lady’s  bedchamber,  with  a view  into  another  room  through  a door 
partially  seen  at  the  right.  Through  the  curtained  -window  of  the 
farther  room  are  seen  the  masts  of  a ship.  A young  lady  is  sitting 
at  the  left,  turned  towards  the  right,  in  an  arm-chair  in  -^vhich  is  a 


EXECUTED  BY  JOHN  CHENEY. 


27 


pillow.  Another  young  lady  is  standing  to  right  of  her,  reading 
from  a letter.  On  tlie  floor,  by  the  side  of  the  sick  lady,  lies  another 
letter.  In  the  foreground,  to  the  right,  is  a footstool,  partially  cut 
off  by  the  margin.  Behind  the  ladies  a curtained  bed,  a bureau  on 
which  is  a medicine  bottle  and  a cup  with  a spoon  in  it,  and  an  arm- 
chair. On  the  wall  over  the  bureau  is  the  portrait  of  a young  officer. 
Kectangle. 

Engraved  surface  : 71  X 94  mm.  (2I|  X 3|".) 

Plate-mark  ; ? X ? 

Publisked  in 

1.  The  Token,  1829,  opp.  p.  21.  Underneath  : Franquelin  del.  J. 

Cheney  sc.  | The  Seaman’s  Widow.  | Published  by  S.  G.  Goodrich  — 

Boston  I . 

2.  ? ? ? ? Underneath : Franquelin  del.  | The  Seaman’s  Widow. 

Proofs. 

With  lettering  as  under  No.  1.  (E.  D.  C.) 

[This  engraving  is  from  a larger  lithograph,  “La  Yeuve  du  Marin,”  by 
J.  Yallou  de  Yilleneuve,  del.  1825,  still  in  the  possession  of  Mrs.  Ednah 
D.  Cheney.  As  the  engraver  did  not  reverse  his  drawing,  the  impressions 
from  his  plate  are  the  reverse  of  the  lithograph. 

1829.  18.  Psyche  before  the  Tribunal  of  Venus. 

Yenus  and  another  female  deity,  apparently  Juno,  seated  on  a throne, 
which  stands  on  a liigh  pedestal  in  the  middle  of  the  picture,  facing 
towards  the  left,  and  parallel  to  the  plane  of  the  picture  with  its  long 
side.  Yenus  is  pointing  with  the  index  finger  of  the  right  hand  to 
Psyche,  who  stands  before  the  tlirone  in  a despondent  attitude,  on  the 
left  side  of  the  picture,  draped  only  with  a light,  gauzy  veil.  In  the 
foreground,  at  the  corner  of  the  throne  to  the  right,  stands  Cupid,  liis 
face  buried  in  his  riglit  hand,  wliich,  with  tlie  left,  rests  upon  his  bow. 
Behind  the  throne,  towards  tlie  riglit,  hover  in  the  air  three  winged 
female  genii.  The  background  is  formed  of  clouds,  tlirough  the 
upjier  ])art  of  whicli,  towards  the  left,  is  seen  part  of  a column  and 
of  the  entablature  of  a temple.  Pectangle. 

Engraved  .surface  : lOG  X 68  mm.  ( ) 

Plate-mark  ; 204  X 129  mm.  (8  X 5iV'.) 


28 


ENGRAVINGS  AND  LITHOGRAPHS 


Published  in 

The  Token,  1829,  opp.  p.  130.  Underneath  : Fragonard  del.  J. 
Cheney  sc.  | Psyche  before  the  Tribunal  of  Venus.  [ Published  by 
S.  G.  Goodrich,  Boston. 


Proofs. 

With  the  lettering.  (M.  F.  A.  On  India  paj^er.  On  the  margin  is 
written,  apparently  by  the  engraver  : Better  proof.) 


1829?  19.  “When  thou  passest  through  the  waters.” 

Christ,  sitting  upon  a rocky  ledge,  turned  towards  the  right.  At 
his  feet,  with  her  arms  in  his  lap  and  looking  up  to  him,  a kneeling 
woman,  whose  left  arm  he  holds  with  his  right  hand,  and  upon  whom 
he  looks  down.  With  his  left  hand  he  holds  a rope,  by  means  of 
which  he  raises  out  of  the  water  another  woman,  only  partially  seen, 
to  the  right.  In  the  background,  to  the  left,  against  a rock,  the  cross, 
upon  which  is  suspended  an  anchor,  to  the  right  the  sea,  and  in  the 
distance  a lighthouse.  In  the  upper  part,  sky.  Eectangle. 

Engraved  surface  : ,53  X 76  mm.  (2^g  X3''. ) 

Plate-mark  : See  No.  20. 


Published  in 

1.  The  Holy  Bible.  (See  No.  20.)  Underneath  : Thurston  del.  J. 

Cheney  sc.  [ “ When  thou  passest  through  the  waters,  I will  be  with 
thee  ; | and  through  the  rivers,  they  shall  not  overflow  thee.”  | 
Isaiah  43.  2. 

2.  The  Holy  Bible,  later  issue,  by  Alden  & Beardsley,  Auburn,  N.  Y. 

(See  No.  20.)  Lettered  as  above. 

3.  The  plate  is  in  the  possession  of  J.  C.  Buttre,  New  York,  who  pub- 

lishes impressions  for  sale,  lettered  as  above. 

[The  original  is  a woodcut  by  Branston,  Rescued  from  the  Floods,”  from 
a design  by  Thurston,  in  “Religious  Emblems,”  London  : 1809.  See  Lin- 
ton, “ The  Masters  of  Wood-Engraving,”  New  Haven  : 1889,  p.  174,  where 
Branston’s  cut  is  reproduced.  The  same  cut  was  copied  on  wood  by  Dev- 
ereux.  See  the  same  author’s  “ Flistory  of  Wood-Engraving  in  America,” 
Boston  : 1882,  p.  19,  where,  however,  the  original  cut  is  erroneously  attrib- 
uted to  William  Hughes.] 


EXECUTED  BY  JOHN  CHENEY. 


29 


1829?  20.  Title  Vignette. 

A female  figure,  in  ample  drapery,  fronting  tlie  spectator,  eyes  raised 
to  heaven,  kneels  behind  a cross,  on  which  she  rests  lier  folded  hands. 
The  cross  is  planted  upon  one  of  the  poles  of  the  globe,  which  latter 
is  only  partly  visible.  Clouds  surround  the  whole.  Out  of  them 
stream  rays  of  light  upon  the  head  of  the  kneeling  figure.  Vignetted. 
This  vignette  is  engraved  on  the  same  plate  with  No.  19. 

Extreme  limits  of  work  : 57  X 52  mm.  (2|^  X 2jY', ) 

Plate-mark  of  the  whole  plate  : 198  X 127  mm.  (7|  X 5".) 

Published  in 

1.  The  Holy  Bible,  on  the  engraved  title-page,  lettered  : The  | Holy  Bible.  | 

(Vignette.)  | Thurston  del.  J.  Cheney  sc.  | “ Be  thou  faithful 

unto  death,  and  I will  | give  thee  a crowm  of  life.”  | Bev.  II.  x.  [ 
[Publishers’  address  ?] 

2.  The  Holy  Bible,  later  edition,  lettered  as  above,  and  with  the  following 

publishers’  address  : Auburn  N.  Y.  | Alden  & Beardsley  | . 

3.  The  plate  is  in  the  possession  of  J.  C.  Biittre,  New  York,  who  pub- 

lishes impressions  for  sale,  lettered  as  under  No.  2. 

[I  only  know  this  and  the  preceding  engraving  from  the  impressions  ob- 
tained from  Mr.  Buttre,  who  kindly  writes  to  me  as  follows  concerning  the 
plate  : “I  have  had  the  plate  since  1853,  at  that  time  for  Alden  & Beards- 
ley, a firm  that  has  been  out  of  business  from  ten  to  twenty  years.  Near 
the  early  date  I have  a charge  for  the  publishers’  imprint,  and  presume,  as 
a matter  of  course,  the  previous  owner  or  publishers  had  their  name  on  it 
instead  of  the  present  one.  I have  no  print  of  it,  however,  to  indicate  the 
former  publisher.”  The  plate  is  placed  hypothetically  in  the  year  1829,  or 
thereabouts,  as  lacking  the  robustness  of  the  engraver’s  later  work.  See 
“List  of  Books,  etc.”] 

1829.  21.  The  Portrait. 

A little  boy,  with  curly  hair,  bareheaded,  fronting  the  spectator, 
his  head  slightly  turned  to  left,  and  looking  upward,  is  seated  on  a 
large  fiat  rock,  l)etwcen  t\vo  smaller  rocks,  on  one  of  which  he  rests 
his  extended  right  arm,  on  the  other  his  left  elbow,  while  the  left 
hand  supj)orts  the  head.  The  right  leg  is  folded  umler  the  left,  whi(di 
hangs  dowui  over  the  rock.  He  is  elegantly  dressed,  in  pantalets. 


30 


ENGRAVINGS  AND  LITHOGRAPHS 


waist  and  low-necked  jacket,  apparently  of  velvet,  with  a broad  frilled 
linen  collar  and  turned-over  cuffs.  Background  rocks,  with  some 
brandies  overhead.  To  the  left  a glimpse  of  sea  and  sky,  with  foliage 
below.  Vignetted. 

Extreme  limits  of  work  : 55  X 68  mm.  (2j\  X 
Plate-mark  : ? X ? 

Published  in 

1.  The  Casket,  1829,  opp.  p.  160.  Underneath  : J.  Cheney  sculp,  from 

T.  Lawrence  | The  Portrait.  | Boston,  Bowles  & Dearborn. 

2.  The  Casket ; or  Youth’s  Pocket  Library,  1830,  opp.  p.  88.  Underneath  : 

J.  Cheney  sculp,  from  T.  Lawrence  \ The  Portrait.  (See  “ List 
of  Books,  etc.”) 

[This  engraving  is  a much  reduced  copy  of  Sir  Thomas  Lawrence’s 
“ Master  Lambton,”  mezzotinted  by  Samuel  Cousins  iii  1827.] 

1830.  2.2.  Title  Vignette. 

A pair  of  lovers  walking  in  a wood.  The  man,  to  the  right,  in  the 
theatrical  fancy  costume  of  a knight  in  civil  dress,  has  his  right  hand 
upon  the  girl’s  right  shoulder,  his  head  is  seen  in  profile  turned 
towards  her,  with  his  left  he  seems  to  be  pointing  to  a rose  which  she 
holds  in  her  right  hand.  The  girl  is  bareheaded,  and  wears  a white 
low-necked  waist  with  ample  sleeves,  with  a bodice  over  it  laced 
together  in  front,  and  a short  skirt.  Background  of  trees,  on  the  right 
a large  oak-tree,  and  still  farther  to  the  right,  in  the  distance,  three 
trees  on  a hillock.  (See  No.  4 below,  for  altered  state.)  Vignetted. 

Extreme  limits  of  work  : 76  X 71  mm.  (3  X 2p|".) 

Plate-mark  ; ? X ? 

Published  in 

).  The  Token,  1830,  on  the  engraved  title-page,  lettered  : The  Token  | 
(Vign.)  I H.  Inman  del. — J.  Cheney  sc.  | Boston  D.  Bussell 
Print.  1 Published  by  Carter  and  Hendee  | 1830.  (An  impression 
in  this  state  is  in  the  collection  of  Mr.  Charles  Henry  Hart.  The 
printer’s  address,  in  very  dehcate  letters,  is  almost  wiped  out,  and 
therefore  quite  faint.) 

2.  The  Token,  1830.  As  above,  but  the  printer’s  name  has  been  taken 
away  from  its  former  place  on  the  plate  and  re-engraved  : D.  Rus- 
sell PP,  in  a curved  line  under  the  date,  1830.  (This  is  evidently 
the  more  common  state.) 


EXECUTED  BY  JOHN  CHENEY. 


31 


3.  Alburn^  1832,  on  engraved  title-page,  lettered  : Album  ] (Vign.)  [ 

H.  Inman  del. — J.  Cheney  sc.  | New  York.  | Published  by  Pea- 
body & C?  1 1832.  (Ph.) 

4.  The  Lach/s  Cabinet  Album,  no  date,  on  engraved  title-page,  with  the 

following  lettering  : Album  | (Vign.)  | II.  Inman  del.  — J.  Cheney 
sc.  I New  York.  | Published  by  Elisha  Sands.  The  middle  one  of 
the  three  trees  on  the  hillock  in  the  distance  on  the  ri<dit  has  been 

O 

taken  out,  and  the  figure  of  a man  substituted.  (An  incomplete 
copy  of  this  volume  in  my  possession  is  stamped  upon  the  back  : 
Lady’s  | Album  [ N.  York  | 1842  | .) 

5.  Buttress  Catalogue.  On  the  cover,  with  the  following  lettering  ; 

Catalogue  | of  | Engravings.  | (Vignette,  with  the  change  described 
under  4.)  | H.  Inman  del.  — | J.  Cheney  sc.  | New  York.  ] J.  C. 
Buttre.  I 7 Barclay  Street.  Around  the  whole  lias  been  engraved  a 
border  formed  of  a wave-line  with  leafiets  attached  to  it. 

[It  is  said  that  Inman  aided  John  Chene}^  in  the  engraving  of  this  plate. 
— Note  by  Mrs.  Ednah  D.  Cheney.] 


1830.  23.  Sibyl. 

Half  length  of  a young  woman  in  a turban,  her  head  turned  to  the 
left  as  if  listening,  writing  into  a large  book  with  a quill  pen.  Only 
one  hand,  that  holding  the  pen,  is  visible.  Simple  liackground,  con- 
sisting of  lines  crossing  in  several  directions.  Rectangle. 

Engraved  surface  : 65  X 80  nun.  X 31". ) 

Plate-mark:  121  X 200  mm.  (If  X 7|".) 

Published  in 

1.  The  Token,  1830,  opp.  p.  31,  lettered  underneath  : from  a Painting 

after  Guido.  Engraved  by  J.  Cheney.  | Sibyl.  [ Published  by 

Carter  A Ilendee,  Boston.  | M°Einzie  Print!  | . 

2.  La(hfs  Cabinet  Album,  1832,  oj)p.  p.  14,  lettered  as  above,  but  with- 

out the  publislu'rs’  and  ])rinter’s  address. 

3.  Lady’s  C(d)iuef  Album,  1833,  as  under  No.  2. 

4.  Lady’s  Cabinet  Album,  no  dat(',  as  under  No.  2. 

.5?  The  Moss  Bose,  no  date,  o]>]).  ]).  14.  (See  “List  of  Book's,  etc.”) 

G.  The  ])late  is  in  the  hands  of  J.  C.  Buttre,  New  York,  who  publishi's 
inijU’cssions  with  the  names  of  the  ailisls  oidy.  4'he  [ilate-mark  is 
given  from  one  of  these  impressions. 


32 


ENGRAVINGS  AND  LITHOGRAPHS 


1830. 


24.  The  Lost  Children. 


Two  little  clnldreu  in  a rocky  glen,  one  of  them,  a girl,  on  the  left, 
standing,  bareheaded,  lier  hands  folded  before  her,  the  head  inclined 
somewhat  to  the  left.  The  other  a boy,  on  the  right,  sitting,  also 
bareheaded,  his  head  bowed  down,  his  face  buried  in  his  hands,  over 
which  hangs  his  frock.  A bit  of  water  in  the  right  lower  corner. 
Background  of  rocks  and  trees,  a glimpse  of  sky  in  the  upper  left- 
liand  corner.  Rectangle,  surrounded  at  the  distance  of  about  1 mm. 
by  a single  line  above  and  on  the  right,  by  two  lines  below  and  on 


Engraved  surface,  without  the  horderdines  : 69  X 86  mm.  (21A  X 3f".) 
"With  the  border-lines  : 72  X89  mm.  (21|  X 
Plate-mark  : ? X ? 


1.  The  ToJcen,  1830,  o])p,  p.  117,  lettered  below  the  border-lines:  A. 

Scheffer.  J.  Clieney.  | The  Lost  Children.  | Published  by  S.  G. 

Goodrich  & Co  Boston.  | D.  Russell  Pr!  | . 

2.  The  Lady’s  Cabinet  Album,  1832,  opp.  p.  307.  Lettered  as  above,  but 

without  the  publishei\s’  and  printer’s  address. 

3.  The  Lady’s  Cabinet  Album,  1835,  as  under  No.  2. 

4.  The  Lady’s  Cabinet  Album,  no  date,  as  under  No.  2. 

5 ? The  Moss  Rose,  no  date,  opp.  307.  (See  “ Li.st  of  Books,  etc.”) 

Proofs. 

Trial  proof,  finished,  but  before  the  border-lines  and  the  lettering. 
(M.  F.  A.) 


Head,  neck,  and  bust  of  a boy,  facing  the  spectator  and  wearing  a 
torn  straAY  hat.  ddie  neck  is  bare ; a broad  shirt-collar,  reaching  well 
up  behind,  falls  over  the  boy’s  jacket.  On  the  left  side  the  frame  cuts 
off  the  arm  immcdiatelv  below  the  shoulder  ; on  the  right  the  lowest 
point  of  the  arm  is  about  5 mm.  distant  from  the  margin.  Sim- 

ple gradated  background,  consisting  of  lines  crossing  in  two  directions. 
Rectangle,  enclosed  in  a rectangular  flat  frame. 

Size  of  inner  rectangle  : 54  X 63  mm.  (2|^  X 
Engraved  surface  with  frame  : 68  X 82  ram.  X 35".) 

Plate-mark  •,  ? X ? 


the  left. 


Published  in 


1830. 


25.  The  Torn  Hat. 


EXECUTED  BY  JOHN  CHENEY. 


33 


Published  in 

Youth's  Keepsake,  1830,  as  the  frontispiece.  Lettered  underneath  the 
frame  : T.  Sully  pinx.  J.  Cheney  sc.  ] The  Torn  Hat.  j Pub- 
lished by  Carter  & Hendee,  Boston,  j McKinzie  Pt!  [ . 

Proofs. 

1.  Unfinished,  without  the  frame,  and  with  trials  of  the  needle  and  the 

graver  in  the  margin.  (G.  On  thin  India  paper.) 

2.  With  the  lettering.  (E.  D.  C.) 

1831.  26.  The  Pirate. 

A group  of  old  English  houses,  with  high  chimneys  from  which 
smoke  is  issuing.  On  the  corner  of  the  tallest  building  of  the  group 
to  the  right,  is  a ‘‘  pepper-box  ” turret,  with  a weather-vane  upon  it. 
Projecting  from  the  lower  building,  over  the  porch,  is  a square  bay, 
supported  by  pillars.  At  the  porch  two  men,  greeting  one  another. 
To  the  left  of  this  group  live  women  and  two  girls,  to  the  right  three 
women  and  three  men,  one  of  the  latter  well  towards  the  foreground. 
In  the  distance,  on  the  right  side,  two  women,  one  of  whom  carries  a 
basket.  On  the  left  two  dogs,  one  lying,  tlie  other  running.  In  the 
foreground  grass,  and  to  the  right  an  anchor,  etc.,  near  a bit  of  wuiter. 
Vignetted. 

Extreme  limits  of  the  work  : 70  X 63  mm.  (2|  X ) 

Plate-mark  : ? X ? 

Published  in 

IVaverley  Novels,  Parker'’ s Edition,  Boston,  1831,  Vol.  23,  as  the  frontispiece. 
Lettering:  The  Pirate.  | (Vignette.)  | A.  Naysmith  del  J. 

Cheney  sc.  | Beneath  a low,  broad,  and  large  porch,  — stood  Magnus 
himself,  intent  on  | the  hos[)itable  toil  of  receiving  and  welcoming 
the  numerous  guests  who  successively  | approached.  [ Vol.  I Page 
148.  1 Boston.  | Samuel  II.  Parker.  | 1G4  Washington  St. 

1831.  27.  Just  Seventeen. 

Three-quarter  length  of  a young  lady,  seated,  facing  the  spectator 
full  front.  The  hair  arranged  in  curls  on  both  sides  and  on  the  top 
of  the  head.  Low-necked  dress.  The  left  arm,  the  hand  not  seen, 
rests  in  the  lap,  the  right  is  supported  on  the  back  of  the  chair  at  the 

3 


34 


ENGKAVINGS  AND  LITHOGRAPHS 


elbow,  and  the  right  hand  holds  an  eye-glass  which  is  attached  to  a 
chain  hanging  around  the  neck.  To  the  left,  in  the  background,  is 
seen  a column,  to  the  right  trees,  between  these  the  clouded  sky. 
Eectangle,  surrounded  by  lines  (two  at  the  bottom  and  along  the 
right,  one  at  the  toj)  and  along  the  left)  at  a distance  of  about  2 mm. 

Engraved  surface  without  the  lines  : 67  X 82  nun.  (2|  X 3jV'.) 

With  the  lines  : 71  X 85  nun.  (2|  X 
Plate-mark  : 124  X 200  min.  (4|  X 

Published  in 

1.  The  Token,  1831,  opp.  p.  141,  lettered  underneath  : Painted  by  Sir 

Tho?  Lawrence  P R A.  Engraved  by  J.  Cheney.  | Just 

Seventeen.  | Published  by  Gray  & Lowen.  Poston.  | Printed  by 
MfKinzie. 

2.  The  Lily,  1830,  opp.  p.  219,  lettered  as  above,  but  without  the  pub- 

lishers’ and  printer’s  addresses. 

3.  The  Coral,  no  date,  opp.  }>.  105,  with  only  the  names  of  the  artists. 

4.  In  the  state  last  describeil,  the  plate  still  e.xists  in  the  hands  of  J.  C. 

Buttre,  New  York,  who  ])ublishes  impressions  for  sale.  The  plate- 
mark  is  given  from  one  of  tliese  impressions. 

[The  picture  is  a portrait  of  a Miss  Crocker,  mezzotinted  by  Samuel 
Cousins,  and  published  by  Colnaghi  in  1828.  It  appears  also,  with  the 
title  “ I\ris3  Crocker,”  engraveil  in  stip]>le  by  Thomson,  in  the  “Talis- 
man,” London  ; 1831,  and  “ Le  Keepsake  Franjais,”  Paris  : 1831.] 

4 

1832.  28.  Lesbia. 

A young  lady,  nearly  three-quarter  length,  seate.l,  the  body  seen 
almost  in  front  view,  slightly  turned  towards  tlie  left,  the  liead  in  pro- 
file turned  towards  the  left.  She  rests  lier  right  arm  on  a table  upon 
which  lies  a dead  bird,  at  which  she  is  looking.  Tho  liair  is  done  up 
loosely  towards  the  back  of  the  head,  over  the  shoulders  is  thrown  a 
shawl,  around  tho  waist  is  a broad  sash.  On  the  bosom  she  wears 
two  rose-buds,  a larger  and  a smaller,  with  three  leaflets.  The  left 
hand,  only  partly  seen,  rests  in  her  lap,  ami  holds  the  index  finger  of 
the  right.  Simple  gradated  background  of  lines  crossing  at  right 
angles  horizontally  and  perpendicularly,  with  some  lighter  diagonal 
lines.  Rectangle. 

Engraved  surface  : 65  X 79  mm.  (2/^  X 3}". ) 

Plate-mark  : ? X ? 


EXECUTED  BY  JOHN  CHENEY. 


35 


Published  in 

1.  The  Token,  1832,  opp.  p.  63,  lettered  underneath.  : Sir  J.  Reynolds 

Pinx^  J.  Cheney  Sc.  1 Lesbia.  \ Published  by  Gray  & Bowen, 

Boston.  I M?Kinzie.  Pil  ] . 

2.  Atkinson’s  Casket  There  are  impressions  lettered  ; Sir  J.  Reynolds 

Pinx^  J.  Cheney  Sc.  ] Lesbia.  | Published  by  S.  C.  Atkinson.  | , 
which  would  seem  to  show  that  the  plate  was  used  also  for  Atkin- 
son’s “ Casket,”  but  I have  not  been  able  to  hnd  the  volume. 

[The  original,  painted  in  1764,  is  a portrait  of  Mrs.  Collier,  or  Cullyer, 
formerly  Miss  Gwynn,  Gwyn,  or  Guynn,  first  and  divorced  wife  of  Capt. 
George  Collier,  who  was  knighted  in  1775  and  died  in  1795,  when  Vice- 
Admiral  of  the  Blue.  It  was  engraved  in  mezzotint  by  G.  Graluim,  under 
the  title  “ Cselia  lamenting  her  dead  sparrow;”  by  Richard  Houston,  with 
verses  under  it  : “ On  Chloe’s  Sparrow;  ” and  by  J.  Watson,  witliout  special 
title,  and  some  verses  from  Catullus.  There  is  also  a small  later  mezzo- 
tint by  S.  W.  Reynolds,  with  the  lettering  : “ Lesbia.  Portrait  of  My? 
Colly er.  In  the  possession  of  Genl  Guynn.”  An  impression  of  this 
mezzotint  is  among  the  things  left  by  John  Cheney  ; but  it  cannot  have 
served  him  as  the  original,  as  it  was  only  published  in  1835.] 

1833.  29.  Guardian  Angels. 

(teh  [sic  !]  orphan’s  guard.) 

A child  angel,  about  lialf  length,  facing  the  spectator,  holds  in  his 
arms  a sleeping  child,  whose  head  rests  upon  his  left  shoulder,  under 
his  outspread  wing.  Another  cliild  angel,  on  the  left-hand  side  of  the 
picture,  is  in  the  act  of  kissing  the  first  angel,  and  passes  his  right 
arm  around  the  sleeping  child,  so  that  his  right  hand  rests  on  its  left 
shoulder.  On  the  right  is  seen  a piece  of  fluttering  drapery.  The 
rest  of  the  background  consists  of  dark  clouds.  Rectangle. 

Engraved  surface  : 76  X 72  mm.  (3  X 2jfA) 

Plate-mark  : ? X ? 


Published  in 

1.  The  Token,  1833,  as  the  frontispiece.  Lettered  underneath  : Painted 
by  Sir  Joshua  Reynolds  Engraved  by  J.  Clieney.  j Guardian 

Angels.  1 Published  by  Gray  & Bowen,  Boston.  | R.  Neale  Print. 
Boston  I . 


36 


ENGRAVINGS  AND  LITHOGRAPHS 


2.  Pollock,  The  Course  of  Time,  no  date,  opp.  p.  115.  Lettered  under- 
neath : Painted  by  Sir  Joshua  Reynolds  Engraved  by  J. 

Cheney.  | Teh  [sic!]  Orphans  Guard.  (The  book  must  have  been 
published  in  1836  or  earlier.  A copy  in  the  possession  of  Mr.  Jas. 
D.  Smillie,  of  New  York,  has  his  father’s  autograph  on  the  title- 
page,  with  the  year  1836.) 

Proofs. 

Before  lettering.  (K.) 

[The  original  was  painted  by  Sir  Joshua  in  1785.  It  is  owned  by  the 
Duke  of  Leeds,  and  was  exhibited  at  the  Grosveiior  Gallery  in  1884. 
There  is  a mezzotint  from  it  by  C.  II.  Hodges,  published  in  1786.  On  an 
impression  in  the  British  iMuseuin  is  written  : “ Portrait  of  Mast.  Dun- 
ning.” — Communicated  hy  Mr.  J.  B.  Pearse,  of  Boston,  from  Hamilton’s 
“A  Catalogue  Raisonne  of  the  Engraved  Work  of  Sir  Joshua  Reynolds,” 
London  : 1884.] 


1833.  30.  A Portrait. 

(oh  that  those  lips  had  language  !) 

Half  length  of  a lady,  the  lieatl  slightly  turned  to  right.  Sliort 
curls  fall  over  the  ears,  in  wliich  are  ear-rings.  She  wears  a frilled 
cap  trimmed  with  ribbons.  Around  tlie  neck  a thin  kercliief,  which 
is  tucked  into  the  bosom  of  the  dress.  Pulled  sleeves,  of  wliicli  only 
a small  part  near  the  shoulders  is  seen.  Simple,  almost  flat  back- 
ground, formed  by  horizontal  and  vertical  and  some  diagonal  lines. 
Oval,  enclosed  in  a rectangle,  which  again  is  enclosed  in  a rectangular 
frame  formed  of  mouldings  with  curvilinear  corner  ornaments. 

Size  of  oval  : 58  X 70  mm.  (2f  X 2^".) 

Size  of  inner  rectangle  : 69  X 81  mm.  (2|-^  X 3^V^*) 

Size  with  frame  ; 85  X 99  mm.  (3|  X 3J". ) 

Published  in 

1.  The  Token.,  1833,  opp.  p.  337.  Underneath  : Painted  by  Leslie. 

Engraved  by  J.  Cheney.  | A Portrait.  | Published  by  Gray  & 
Bowen,  Boston.  | Printed  by  Illman  & Pillbrow. 

2.  1 ? Lettered  as  above,  but  without  printers’ address.  (E.  D.  C.) 

3.  Croly,  The  Beauties  of  the  British  Poets,  no  date,  opp.  p 214.  Under- 

neath : Painted  by  Leslie.  Engraved  by  J.  Cheney.  | Oh 

that  those  lips  had  Language  ! 


EXECUTED  BY  JOHN  CHENEY. 


37 


Proofs. 

1.  Trial  proof,  unfinislied,  before  the  frame,  with  only  a line  drawn 

around  the  rectangle.  (H.  This  proof  shows  pencillings,  indicating 
proposed  changes.) 

2.  Trial  proof,  with  considerable  added  work,  which  shows  especially 

on  the  neck,  bosom,  and  kerchief,  but  still  unfinished,  and  with  only 
a line  around  the  rectangle,  instead  of  the  frame.  (U.  S.,  M.  F.  A., 
E.  D.  C.  The  two  proofs  in  the  Museum  of  Fine  Arts,  Boston, 
again  show  pencillings.) 

3.  Finished,  but  still  with  only  the  line  instead  of  the  frame.  (G.) 


1833?  31.  Old  Man  and  Child. 

Interior  of  a French  peasant’s  cabin.  An  old  man,  wearing  a high 
cap  and  dressed  in  a waistcoat,  coat,  apron,  striped  breeches,  and, 
apparently,  gaiters,  sits  in  an  arm-chair  turned  somewhat  to  the  left. 
In  his  arms  he  holds  a little  child,  with  long  curls,  barefooted,  also 
wearing  a high  cap,  and  dressed  in  a frock  with  a white  apron  over  it. 
The  child  is  in  the  act  of  putting  a clay  pipe  into  the  old  man’s 
mouth  with  its  right  hand.  To  the  left  is  visible  part  of  a table,  to 
the  right  part  of  a rough  cupboard,  with  a bottle  standing  upon  it. 
In  the  wall,  in  the  background,  a sort  of  niche.  Eectangle. 

Engraved  surface  : 78  X 105  mm.  (3j\  X 
Plate-mark  : ? X ? 

I know  of  only  one  impression  from  this  plate,  a proof,  apparently  un- 
finished, without  lettering  (E.  D.  C.).  There  is  no  evidence  beyond 
family  tradition  that  John  Cheney  engraved  it.  It  is  said  to  have 
been  done  from  a drawing,  which  must  have  been  in  water-colors,  and 
was  manifestly  of  French  origin.  On  Jan.  15,  1833,  John  Cheney 
writes  from  Paris  (see  “ Memoir,”  p.  21)  : “I  have  an  o])portunity  to 
engrave  something  for  a French  work,  and  think  I shall  do  so.” 
This  is  possibly  the  plate  here  alluded  to.  The  work  is  certainly 
very  much  like  that  of  The  Young  Savoyard  ” (see  Seth  ^Yells 
Cheney’s  work,  No.  C),  in  the  engraving  of  which  John  Cheney 
assisted  his  younger  brother,  and  it  has  therefore  been  placed  in  the 
same  year. 


38 


ENGRAVINGS  AND  LITHOGRAPHS 


1834.  32.  The  Orphans. 

Two  girls,  bareheaded,  seen  about  half  length,  turned  towards  the 
right.  The  older,  dark-haired,  stands  beldiid  the  younger,  fair-haired, 
and  rests  her  left  hand  upon  the  younger’s  left  shoulder,  while  her 
right  hand  rests  upon  the  sister’s  bent  riglit  arm.  Jioth  wear  rather 
low-necked  dresses.  The  hair  of  the  older  is  decorated  with  a ribbon 
upon  the  back  of  the  head,  ami  a shawl  is  thrown  over  her  right  arm, 
and  passes  over  the  left  arm  and  in  front  of  the  younger.  On  the  right 
cheek  of  the  latter  is  seen  a tear,  liackgrouiid  of  rocks,  trees,  and 
sky,  with  a bit  of  water  in  the  lower  riglit  corner.  Circle,  not  quite 
perfect,  enclosed  in  a sipiare,  tlie  circumference  of  the  funner  coincid- 
ing with  the  sides  of  the  latter.  Tlie  rectangle,  up  to  the  circle,  tilled 
in  with  horizontal  and  perpeiiilieidar  lines  crossing  one  another. 

Engraved  surface  : 7 1 X SO  mm.  Xiil".) 

ITate-mark  : ? X ? 

Published  in 

The  ToJcen,  18J4,  the  frontispiece.  Underneath:  Engraved  by  John 
Cheney  | The  Orphans.  | Published  by  Charles  Ho  wen.  | Printed  by 
K.  Neale. 

Proofs 

Early  trial-proof,  the  rectangle  around  the  circle  filled  in  with  horizontal 
lines  only.  Without  lettering.  (M.  E.  A.) 

[This  plate  was  e.xeciited  liom  a fine  litln»graph,  still  in  the  ]>os.session  of 
Mrs.  Pjdnah  1).  Cheney,  which  measures,  surtaci^  of  drawing.  10!)  X 11b  inin. 
(~li\  N )»  and  is  lettered  underneath  : d'he  Orphaii'i.  | Drawn  on  Stone 
by  Iticld  J.  Lane  Ironi  a slight  Sketch  by  j ( lainsboroiigh,  | in  the  Posse.s- 
sioii  of  E.  K.  Oardiner  Es.p  | Proof.  | Pnblislied  J.in?  1?  1827.  by  J. 
Dickinson  New  Hoiid  Street.  | Piintial  by  C.  IIullinaTidel.  The  coni]ia.ss 
marks,  and  the  figures,  in  pencil,  fnr  the  network  of  lines  used  in  the  reduc- 
tion, are  visible  on  the  lithograjdi.J 

1834.  33.  Why  dont  he  come. 

A girl,  seen  at  not  much  more  than  lialf  length,  looking  out  of  an 
arched  window  of  heavy  masonry.  The  hair  is  cut  rather  short,  about 
the  neck  loosely  hangs  a kerchief,  tied  into  a knot  on  the  bosom. 


EXECUTED  BY  JOHN  CHENEY. 


39 


With  the  left  hand  she  shades  her  eyes  from  the  sun,  the  right  rests 
on  the  window-sill.  In  the  upper  left-hand  corner  is  part  of  a wicker 
cage,  in  which  the  tail  and  part  of  the  body  of  a black  bird  are  seen. 
Through  the  window,  on  the  left,  is  seen  a curtain.  The  rest  of  the 
background  is  a simple  gradated  surface,  formed  by  wavy  horizontal 
and  vertical  lines  crossing  one  another.  Rectangle, 

Engraved  surface  : 71  X 91  mm.  (2p|  X 3jV^.) 

Plate-mark  : 141  X ? mm.  X V'.) 

Published  in 

The  Token,  1831^,  opp.  p.  25,  lettered  underneath  : Engraved  by  Jno. 
Cheney.  | Why  dont  he  come.  | Published  by  Charles  Bowen,  Bos- 
ton. I Printed  by  R.  Neale. 


Proofs, 

1.  Pure  etching,  the  figure  only  outlined  in  dots.  (M.  F.  A.) 

2.  Almost  finished,  the  shadows  deepened  with  India  ink.  (M.  F.  A.) 

3.  Finished,  but  without  lettering.  (E.  D.  C.) 

[Mrs.  Ednah  D.  Cheney  thinks  the  original  is  by  Leslie.] 


1835.  34.  The  Cottage  Girl. 

(industry.) 

Three-quarter  length  of  an  English,  or  Irish,  peasant-girl,  seen  in 
profile  towards  the  left,  knitting  a stocking,  at  which  she  is  look- 
ing. She  wears  a white  cap,  from  under  which  her  hair  escapes  in 
loose  strands,  and  a dress  with  a large  cape,  gathered  up  at  the  back, 
so  as  to  show  the  petticoat.  At  her  left  side  hangs  something  that 
looks  like  a large  locket.  She  stands  in  the  open  air,  leaning  against 
the  sill  of  a window,  the  sash  of  which  opens  outward  on  the  left. 
On  the  same  side  is  seen  part  of  a rose-bush.  Rectangle. 

Engi’aved  surface  ; 80  X 110  mm.  (3|-  X 
Plate-mark  : 148  X 229  mm.  X 9". ) 

Published  in 

1.  The  Token,  1835,  opp.  p.  319,  lettered  underneath  : Painted  by  E. 

Landseer.  Engraved  by  Cheney.  | The  Cottage  Girl.  \ Pub- 

lished by  Ch®  Bowen,  Printed  by  R.  Andrews. 

2.  The  Lily  {1839  ?),  opp.  p.  49,  lettered  as  above,  but  without  publish- 

er’s and  printer’s  addresses.  (See  “ List  of  Books,  etc.”) 


40 


ENGRAVINGS  AND  LITHOGRAPHS 


3 Token  of  Friendship,  no  date,  opp.  p.  28,  lettered  imderneath  ; Painted 
by  E.  Landseer.  Engraved  by  Cheney.  | Industry. 

Proofs. 

Before  the  lettering.  (K.,  G.) 


1835.  35.  The  Dream  of  Youth. 

A youth,  with  only  a cloth  over  his  back,  facing  the  spectator,  is 
sitting  on  a grassy  bank,  leaning  against  the  trunk  of  a palm-tree,  his 
arms  folded,  bis  right  foot  on  his  left  knee,  his  eyes  half  closed.  On  the 
ground  before  him  lie  an  antique  hat  and  a stall.  About  him  are  five 
genii,  one  acupid;  another  with  palette,  lyre,  etc.  ; a third  with  palm- 
branch  and  laurel-wreath  ; a fourth  with  a cornucopia  full  of  coin  ; the 
fifth,  partly  hidden  under  the  youth’s  left  arm,  without  emblems,  lu 
the  distance  hovers  Time  with  scythe  and  hour-glass.  The  back- 
ground lightly  shaded  in  the  upper  part  by  broken,  wavy  lines  in  a 
horizontal  direction,  lioctangle  detined  by  a line. 

Engraved  surface  : 84  X 113  mm. 

Plate-mark  : ? X ? 

Published  in 

The  Token,  1835,  opp.  p.  213.  Underneath  : Painted  by  Guerin. 

Engraved  by  Cheney.  [ The  Dream  of  Vouth.  | Published  by  Chas. 

Bowen.  | Printed  by  K.  Andrews. 

1835.  36.  The  Young  Princess. 

(.VMAND.V.) 

Head,  neck,  and  bust  of  a young  lady,  the  bust  seen  in  profdo 
towards  the  left,  tiie  head  turned  towards  tlie  spectator,  so  that  the  face 
is  seen  in  about  three-quarter  view,  the  eyes  looking  straight  out  of 
the  picture.  The  hair  falls  in  loose  ringlets  over  the  forehead,  along 
both  sides  of  the  face  and  down  the  back,  and  is  ornamented  with 
flowers  on  the  left  side  of  the  head.  Necklace  of  pearks,  with  an 
oblong  pendant  in  front ; low-necked  dress ; a rosette  made  of  ribbon 
upon  the  bosom.  Simple  gradated  background,  consisting  of  lines 
crossing  in  three  directions.  Rectangle. 

Engraved  surface  : 67  X 82  mm.  (2|  X 34'k) 

Plate-mark  : ? X ? 


EXECUTED  BY  JOHN  CHENEY. 


41 


Published  in 

1.  The  Token,  1835,  opp.  p.  255.  Underneath  : Engraved  by  Cheney,  j 

The  Young  Princess.  ] Published  by  Chas.  Bowen.  [ Printed  by 
B.  Andrews  | . 

2.  Crohj,  The  Beauties  of  the  British  Poets,  no  date,  as  the  frontispiece, 

lettered  underneath  : Engraved  by  Cheney.  | Amanda. 

[See  a reduced  and  reversed  repetition  of  part  of  this  engraving  among 
the  bank-note  work,  No.  100.] 

1836.  37.  B.  B.  Wisner. 

Half-length  portrait  of  a gentleman,  seated,  the  body  sliglitly  turned 
to  left,  the  head  seen  somewhat  from  the  right  side.  He  wears  a broad 
white  neckcloth,  the  ends  of  which  cover  the  shirt  front ; no  collar ; a 
coat  with  a very  Ihgh,  rounded  collar,  and  a waistcoat  with  a standing 
collar,  cut  rather  low.  In  the  lower  right-hand  corner  the  upholstered 
back  of  the  chair  is  seen,  above  it  part  of  the  shaft  of  a Doric  column. 
The  rest  of  the  background  is  wall-space.  Rectangle. 

Engraved  surface  : 92  X 108  mm.  (3f  X 
Plate-mark  : 179  X 229  mm.  (7  X 9A) 

Published  in 

1.  The  Missionary  Herald,  1836,  as  the  frontispiece  of  No.  4,  for  April. 

Lettered  underneath  : Painted  by  F.  Alexander.  Engraved  by 

J.  Cheney.  | B.  B.  Wisner  | Published  by  Crocker  & Brewster 
No.  47  Washington  St.  Boston.  | Printed  by  R.  Andrews  1 . (The 
name  is  a fac-simile  of  a signature.) 

2.  .?  ? ? f Underneath  : Painted  by  F.  Alexander.  Engraved  by  J. 

Cheney.  | B.  B.  Wisner  | Late  Secretary  of  the  A.  B.  C.  F.  M. 
(Ph.) 

Proofs. 

1.  Not  quite  finished.  The  wall-space  to  left  shows  only  a gradation 

of  color.  The  triangular  space  under  the  right  arm,  in  the  lower 
left  corner,  is  only  divided  into  a lighter  and  a darker  part. 
(M.  F.  A.) 

2.  Finished,  hut  before  lettering.  At  the  distance  of  about  12  and  15 

mm.  and  f")  respectively,  from  the  left  margin,  fine  lines  have 


42 


ENGRAVINGS  AND  LITHOGRAPHS 


been  introduced  between  the  perpendicular  lines  in  the  background, 
to  indicate  a moulding,  or  a stripe,  upon  the  wall.  (In  late  impres- 
sions these  lines  have  almost  disappeared  again.)  In  the  lighter 
part  of  the  triangular  space  in  lower  left  corner,  8 mm. 
the  left  margin,  measured  on  the  lower  margin,  two  short  lines  have 
been  introduced,  running  diagonally  upward  from  the  lower  towards 
the  left  margin.  (M.  F.  A.  The  signature,  13.  13.  Wisner,  Is  marked 
on  this  proof  with  pencil.) 

3.  With  the  lettering,  but  without  the  printer’s  address.  (M.  F.  A., 
E.  D.  C.) 

[The  original  oil-painting  from  which  this  plate  was  engraved  is  in  the 
rooms  of  the  American  Board  of  Commissioners  of  Foreign  Missions,  in 
Boston.  Dr.  Benjamin  Blydenl)urg  Wisner,  minister  of  the  Old  South 
Church,  Boston,  1821-1832,  was  born  at  Goshen,  N.  Y.,  Sept.  23,  1731,  and 
died  at  Boston,  Feb.  3,  1835.] 

1836.  38.  Title  Vignette. 

Head,  neck,  and  shoulders  of  a young  lady,  the  head  turned  to  right, 
and  bent  slightly  downwards.  The  hair,  which  falls  iij)on  the  shoul- 
ders in  loose  ringlets,  is  fastene<l  across  the  front  part  of  tlie  head  by 
two  bands,  in  which  appear  four  knots.  Vignetted.  No  shading  in 
the  background. 

Extreme  limits  of  the  work  : 41  X 42  mm.  ( 1|  X 1 H". ) 

Plate-mark  : ? X ? 


Published  in 

The  Toheyi,  1836,  on  the  engraved  title-page,  with  the  following  lettering  : 
The  I Token  | and  | Atlantic  Souvenir  | (Vignette)  | F.  Alexan- 
der. Jno.  Cheney.  | Boston.  | Charles  Bowen.  | 1836. 

Proofs. 

1.  Unfinished  trial-proof,  with  the  hair  over  the  right  shoulder  (left  side 

of  impression),  different  from  the  finished  state.  (U.  S.) 

2.  Finished,  but  before  all  lettering.  (^I.  F.  A.  There  are  also  false 

proofs,  with  the  lettering  wiped  out.) 

[The  original  is  a portrait  of  IMiss  Anna  Shaw,  painted  for  Mr.  Rolx'rt  G. 
Shaw  [of  Boston]. — From  a letter  from  Mrs.  L.  G.  Alexander  to  Mrs. 
Ednah  D.  Cheney,  dated  Florence,  March  31,  1890.] 


EXECUTED  BY  JOHN  CHENEY. 


43 


1836.  39.  Beatrice. 

(DORA  HAY.) 

Three-quarter  length  of  a young  lady,  seated,  facing  the  spectator, 
the  head  slightly  turned  toward  the  left  and  bent  downward.  A string 
of  pearls  passes  over  the  front  part  of  the  hair,  the  back  hair  is  gathered 
into  a net.  The  wide  sleeves  are  slashed  on  the  upper  arm,  and  a sort 
of  mantle,  with  an  embroidered  border,  hangs  over  the  arms.  The 
fingers  of  the  right  hand  play  with  a chain  which  hangs  four-fold 
around  the  neck,  the  left,  only  partially  seen,  rests  in  the  lap.  The 
background  is  formed  by  the  wall  of  a room,  decorated  with  perpen- 
dicular mouldings  and  gothic  tracery.  Rectangle. 

Engraved  surface  : 77  X 93  mm.  (3  X 3f'C) 

Plate-mark  : 143  X 189  mm.  (of  X 7xV  •) 

Published  in 

1.  The  Token,  1838,  opp.  p.  105,  lettered  underneath  : Painted  by  W. 

Allston.  Engraved  by  J.  Cheney  | Beatrice.  | Published  by 

Charles  Bowen.  | Print,  at  R.  Andrews. 

2.  Atkinson^ s Gasket,  1837,  opp.  p.  529,  as  the  frontispiece  of  the  Decem- 

ber number,  lettered  as  above,  but  with  the  name  of  S.  C.  Atkinson 
substituted  for  that  of  Charles  Bowen.  (The  printer’s  address  is 
very  faint,  the  intention  evidently  having  been  to  wipe  it  out.) 

3.  ? ? ? There  is  another  state  of  this  plate  with  the  title  changed  to  : 

Dora  Hay.  Whether  publisher’s  and  printer’s  names  follow  this, 
I cannot  tell,  as  the  only  impression  I have  seen  (H.)  is  cut  close 
to  the  title. 

Proofs. 

There  is  a proof,  apparently  without  lettering,  in  the  Museum  of  Fine 
Arts,  Boston,  and  another  of  the  same  kind,  with  pencillings  indicat- 
ing possible  corrections,  in  the  collection  of  Mr.  Charles  Henry  Hart, 
but  on  both  of  them  the  lettering  has  merely  l)een  scratched  off,  and 
there  is  no  evidence  in  the  printed  impressions  that  the  corrections 
have  been  made. 


1836.  40.  Fanny  Kemble. 

(FRANCES  ANNE  KEMBLE.) 

Head,  nock,  left  shoulder,  and  part  of  the  back  of  a lady,  with  the 
left  hand  and  the  greater  part  of  the  left  lower  arm,  turned  to  left. 


44 


ENGRAVINGS  AND  LITHOGRAPHS 


The  liair,  in  curls,  is  loosely  held  together  by  two  bands.  Drapery 
loosely  thrown  over  the  shoulders.  Vignetted.  Almost  circular  shad- 
ing in  the  background. 

Extreme  limits  of  the  work  : 89  X 82  mm.  (3|  X 3^". ) 

Plate-mark  : 143  X 190  mm.  (5f  X ) 

Published  in 

1.  The  Gift,  1836,  as  the  frontispiece,  lettered  underneath  : Painted  by 

T.  Sully.  Engraved  by  J.  Cheney.  | Fanny  Kemble,  j Printed 

by  D.  Stevens.  | Published  for  the  Proprietors  of  the  Gift. 

2.  Poems  hy  Frances  Anne  Butler,  as  the  frontispiece,  lettered  un- 

derneath : Painted  by  T.  Sully,  Engraved  by  J.  Cheney.  | 

Frances  Anne  Kemble. 


Proofs. 

1.  Very  early  trial-proof,  the  flesh  almost  only  lines  of  dots.  (U.  S., 

M.  F.  A.) 

2.  But  little  advanced,  the  drapery  on  tlie  left  shaded  by  close  fine  lines. 

(G.  d his  proof  shows  pencillings,  to  indicate  how  the  draj)ery  is  to 
be  carried  out.) 

3.  Considerably  advanced  in  the  background.  The  close  lines  in  the 

drapery  removed,  and  others,  more  widely  apart,  substituted  and 
carried  over  other  parts  of  the  drapery.  (11.  This  proof  also  shows 
pencillings  in  the  drapery.) 

4.  Strengthened  throughout,  especially  in  the  background.  Tlie  lines  in- 

dicated in  pencil  in  the  ]>revious  proof  added  on  the  drapery,  with 
others  on  the  shoulder.  (G.) 

5.  In  the  previous  ])rool  the  lower  line  lormed  by  the  shading  lines  of 

the  drapery  was  almost  straight.  These  lines  liave  therefore  been 
extended  in  part,  so  that  their  ends  form  a curved  line.  A lieavy 
spot  at  the  upper  left-hand  corner  of  the  background  has  been  re- 
moved, and  a number  of  refinements  have  been  added,  such  as  soft- 
ening the  edges  of  the  background  and  introducing  interlines  in  parts 
of  the  drapery.  (G.,  ^f.  F.  A.  On  the  latter  proof  the  painter  lias 
written,  for  the  guidance  of  the  engraver,  a number  of  remarks  illus- 
trated by  little  sketches  : “ I have  increased  tlie  effect  of  hair : — & 
touched  parts  . . . these  . . . this  . . . this  the  shape  of  the  shadow 
from  the  thumb,  please  make  as  I have  changed*  it;  & keep  the 
fingers  obscure  In  fact  this  is  an  awkward  passage  in  my  pic- 
ture. T S I am  delighted  with  the  engraving  T Sully  ”) 

6.  The  suggestions  of  the  painter  have  been  carried  out,  and  a little  addi- 

tional work  has  been  done  on  the  drapery,  partlv  bv  addition,  partly 


EXECUTED  BY  JOHN  CHENEY. 


45 


by  removal.  The  names  of  the  artists  appear  under  the  portrait : 
Painted  by  T.  Sully.  Engraved  by  J.  Cheney.  This  state  seems, 
however,  to  be  later  than  the  finished  state  published  in  1836,  as  the 
changes  in  the  drapery  do  not  appear  in  the  latter,  while  they  appear 
in  the  plate  as  published  in  1844.  In  the  two  impressions  of  the 
state  under  consideration  that  I have  seen  (H.,  E.  D.  C.),  there  is 
observable,  furthermore,  another  curious  peculiarity.  Under  the 
portrait  appear  traces  of  a title,  “ Isabella  ” or  “ Estella,”  which  has 
either  been  wiped  out  before  printing  or  imperfectly  removed  from 
the  plate.  I have  not  been  aljle,  however,  to  find  an  edition  with 
such  a title.  Mr.  Hart’s  proof  shows  touches  of  white,  indicating 
proposed  changes. 

7.  Large  paper  proof  on  India  of  the  finished  state  of  1844.  (Ph.) 

[The  original  is  in  the  Carey  Collection,  Penns.  Academy  of  the  Fine 
Arts,  Philadelphia,  A 64.  It  is  hardly  necessary  to  say  that  it  represents 
the  well-known  actress  and  authoress,  daughter  of  Charles  Kemble,  born  in 
London,  1811,  who  came  to  America  in  1832.  — See  Letters  I,  II,  and  III, 
in  the  Append! x.| 

1837.  41.  The  Lost,  Found. 

An  illustration  of  a well-known  scene  in  “ Tristram  Shandy.”  A 
young  man  in  the  costume  of  the  last  century  is  sitting  to  the  left 
on  a stone  bench  before  a house.  He  has  his  three-cornered  hat  be- 
tween his  knees,  and  is  absorbed  in  reading  the  writing  on  a crumpled 
piece  of  paper  which  he  holds  with  both  hands.  To  the  right  of  him 
stands  a young  woman,  who  is  taking  the  curl-papers  out  of  her  hair 
and  dropping  them  into  the  young  man’s  hat.  One  of  these  papers  is 
on  the  ground  near  the  young  man’s  right  foot.  Behind  the  young 
woman,  on  the  doorstep,  lies  her  cap.  Before  her  a little  poodle  dog, 
partly  shaven,  who  seems  to  be  barking  at  the  young  man.  Back 
of  the  latter  the  wall  of  the  house,  back  of  the  young  woman,  its 
doorway,  with  the  door  opened  towards  the  right.  Over  the  young 
man’s  head  a sign:  Chaises  Calashes  et  | autres  Voitures  re — | — 
pairees  et  remises  a neuf  | . Eectangle. 

Engraved  surface  : 79  X 111  mm.  (3|-  X4|-^'.) 

Plate-mark  : 139  X 191  mm.  (5|  X 71''-) 

Published  in 

The  Token,  1837,  opp.  p.  43.  Underneath  : Painted  by  C.  R.  Les- 
lie. Engraved  by  J.  Cheney.  | The  Lost,  PMuiid.  | Boston 


46 


ENGRAVINGS  AND  LITHOGRAPHS 


Published  by  Charles  Bowen.  | Printed  by  R.  Xeale.  (This  plate 
occurs  in  two  states  in  the  book  itself.  In  the  earlier  state  there  is 
no  attempt  at  modelling  in  the  scrap  of  paper  on  the  ground,  beyond 
a row  of  dots  which  seem  to  indicate  a crease.  In  the  later  state 
some  dry-point  lines  have  been  added,  evidently  to  subdue  the 
glaring  white  of  the  spot  made  by  the  paper.) 

Proofs. 

1.  Unfinished  trial  proof.  The  triangular  shadow  under  the  sign  on  the 

wall  of  the  house  has  not  yet  been  indicated.  (F.  W.  C.) 

2.  The  foreground  has  been  rebitten.  The  triangular  shadow  is  still 

wanting.  (M.  F.  A.) 

3.  With  the  lettering,  but  before  the  dry-point  lines  in  the  scrap  of  paper 

on  the  ground.  (E.  W.  G.) 

4.  With  the  lettering  and  with  tlie  dry-point  lines  in  the  scrap  of  paper. 

(M.  F.  A.,  II.  The  printeFs  name  in  these  proofs  is  so  faint  as  to 
be  easily  overlooked.  Tliere  are  traces  of  it,  nevertheless.) 

[False  proofs  e.xist,  apparently  without  lettering,  yet  with  the  dry-point 
lines  in  the  .scrap  of  paper.  Such  an  impression  in  the  possession  of  Mrs. 
Electa  W.  Goodman  shows  that  a mask  was  placed  on  the  plate,  so  as  to 
cover  up  the  lettering.] 


1837.  42.  Dorothea. 

(n.VTIIINO.  — THE  DISr.CISE.) 

A girl  in  boy’s  clothing,  sitting  upon  a rock,  facing  the  spectator, 
the  head  somewhat  inclined  to  left,  her  left  arm  resting  upon  a 
higher  part  of  the  rock,  her  right  hanging  down  by  her  side,  the  hand 
hob  ling  a rihhon.  She  has  taken  otf  her  shoes  and  stockings  and 
rolled  up  her  pantaloons,  and  is  about  to  bathe  her  feet  in  a brook  run- 
ning at  the  foot  of  the  rock.  Her  cap,  a stick,  etc.,  are  lying  at  her 
side  on  the  rock  to  the  left,  and  her  shoes  are  on  the  ground  on  the 
same  side.  Background  of  rocks,  trees  and  water,  and  mountains  and 
a bit  of  sky  in  the  upper  right  corner.  Rectangle. 

Engraved  surface  ; 77  X 102  min.  X fVs"-) 

Plate-mark  : 146  X 191  mm.  (,5|  X 7R'. ) 

Published  in 

1.  The  Gift,  18-37,  opp.  p.  54.  Underneath  : Painted  by  J.  G.  Middle- 
ton.  Engraved  by  J.  Cheney  after  Goodyear.  | Dorothea.  | 


EXECUTED  BY  JOHN  CHENEY. 


47 


Published  by  Carey  & Hart  1837.  Printed  by  D.  Stevens. 
(See  List  of  Books,  etc.’’) 

2.  The  Literary  Souvenir,  1838,  opp.  p.  145.  Underneath  : Painted  by 

J.  G.  Middleton.  Engraved  by  J.  Cheney  after  Goodyear,  j 

Bathing.  | Printed  by  D.  Stevens.  (The  only  copy  of  the  book  I 
have  seen  wanted  the  plate.  The  lettering  is  given  from  a plate 
evidently  torn  from  the  book.) 

3.  Godey’s  Ladyh  Booh,  18JjO,  opposite  p.  49,  as  the  frontispiece  to 

the  February  number.  Underneath  : Painted  by  J.  G.  Middle- 
ton.  Engraved  by  J.  Cheney  after  Goodyear,  j The  Disguise,  j 
The  Lady’s  Book. 

Proofs. 

1.  Early  trial-jwoof.  (U.  S.,  M.  F.  A.) 

2.  Later  trial-proof.  (G.) 

3.  Still  later  trial-proof.  (M.  F.  A.) 

4.  Finished,  but  before  all  lettering.  (Ph.,  G.,  E.  D.  C.) 

[It  is  impossible  to  give  positive  marks  of  recognition  for  the  different 
trial-states,  as  the  work  was  carried  forward  all  over  the  plate  by  rebiting 
etc.,  so  that  the  earlier  differ  from  the  later  principally  by  being  more 
delicate.  — According  to  Mr.  S.  A.  Schoff,  the  preparatory  etching  was  done 
by  George  H.  Cushman,  and  from  Letter  IV  published  in  the  Appendix  it 
appears  that  John  Cheney  was  essentially  assisted  in  the  engraving  of  the 
plate  “ by  a young  engraver  who  is  not  yet  known,”  — evidently  his 
brother.  In  the  same  letter  the  price  for  the  plate  is  given  at  $250.  — 
The  engraving  by  Goodyear  which  served  as  an  original  appeared  in  “ The 
Literary  Souvenir,”  London  : 1835.] 

1837.  43.  The  Love  Letter. 

(MARY.) 

A young  lady  in  bed,  only  the  head,  arms,  and  bust  showing.  She 
supports  her  head,  which  is  adorned  hy  rich  long  curls  falling  loosely 
upon  the  bosom,  on  her  left  hand,  while  in  her  right  she  holds  a 
letter  which  she  is  reading.  Beside  her,  close  to  the  left  elbow,  lies  a 
miniature  with  its  cover.  Parts  of  the  hed-ciirtains  are  visible  to 
right  and  left  in  the  upper  half  of  the  picture,  and  the  curtain  also 
forms  the  background.  Pectangle. 

Engraved  surface  : 80  X 93  nun.  (3|  X 3]  J". ) 

Plate-mark  : 178  X 228  mm.  (7  X 8||". ) 


48 


ENGKAVINGS  AND  LITHOGEAPHS 


Published  in 

1.  The  Gift,  1837,  opp.  p.  198.  Underneath  : T.  Sully.  J. 

Cheney.  | The  Love  Letter.  [ Printed  by  D.  Stevens.  (See  “ List 
of  Books,  etc.’^) 

2.  The  Literary  Souvenir,  1838,  opp.  p.  56.  (The  only  copy  of  the  book 

I have  seen  lacked  the  plate.  The  title  in  the  list  of  plates  is  given  : 
Mary.  On  an  impression  in  the  collection  of  Mr.  Charles  Henry 
Hart,  which  may  have  come  from  this  book,  the  lettering  is  the  same 
as  under  No.  1,  with  the  exception  of  the  title,  which,  instead  of  : 
The  Love  Letter,  reads  : Mary.) 

3.  Godey^s  Lady’s  Boole,  1839,  as  the  frontispiece.  Underneath  : T- 

Sully.  J.  Cheney.  | The  Love  Letter.  | L.  A.  Godey  | Phila- 

delphia. (Evidently  the  title  : Mary,  has  been  removed  again,  and 
the  former  title  re-engraved.) 

4.  ? ? ? ? AVith  a broad  ornamental  border.  Lettered:  T.  Sully.  J. 

Cheney.  | The  Love  Letter.  The  artists’  names  are  between  the 
lower  line  of  the  engraved  surface  and  the  inner  line  of  the  frame, 
the  title  is  upon  a piece  of  drapery  forming  part  of  the  frame. 
(Ph.) 

Proofs. 

1.  Unfinished  trial-proof.  The  back  of  the  right  hand  and  the  right  arm 

are  shaded  with  lines  forming  lozenges,  with  only  a few  dots. 
(G.,  F.  AV.  C.) 

2.  Still  unfinished.  Dots  have  been  introduced  into  the  lozenges  above 

mentioned.  (U.  S.,  AL  F.  A.  One  of  the  ju-oofs  in  this  state,  in 
the  collection  of  the  Aruseum  of  Fine  Arts,  Boston,  has  been  touched 
up  by  the  painter,  ami  bears  the  following  remarks  in  his  handwrit- 
ing : “the  white  paint  is  ap}>lied  where  I wouhl  have  the  h’/je  lost, 
the  nose  near  the  eye  & nostrils  recpiires  a little  more  marking  to 
give  clearness”.) 

3.  Finished,  but  before  all  lettering.  In  the  previous  states  no  address 

is  visible  on  the  letter.  It  now  has  an  address,  of  which  Mary  N 
can  be  made  out,  the  rest  being  indistinct.  (AI.  F.  A.,  II.,  G.) 


1837.  44.  Esperanza. 

(the  bride.) 

Half-length  of  a young  lady  slightly  turned  towards  the  riglit,  but 
the  face  almost  full  front,  and  the  eyes  directed  straight  out  of  the 
picture.  The  hair  is  disposed  in  rich  curls  on  both  sides  of  the  head, 


EXECUTED  BY  JOHN  CHENEY. 


49 


with  a band  running  under  them  along  tlie  upper  line  of  the  forehead. 
Low-necked  dress,  Avith  immense  puffed  sleeves.  Plain  gradated  back- 
ground, formed  of  lines  running  in  three  directions.  Rectangle. 

Engraved  surface  : 75  X 94.  (21f  X Sfl"  ) 

Plate-mark  ; 138  X 198  mm.  (5pg  X 7p|".) 

Published  in 

1.  The  Magnolia,  1837,  as  the  frontispiece.  Underneath  : Cummings 

Pinx?  N.  A.  Cheney  SC  | Esperanza  | Published  by  Bancroft 

& Holley  New- York-  | . 

2.  The  Token,  or  Affection’’ s Gift  \_18Jf6  .^],  opp.  p.  288.  Underneath  : 

Cummings  Pinxl  N.  A.  Cheney  SC  j The  Bride.  (See  “ List 

of  Books,  etc.”) 


Proofs. 

Before  all  lettering.  (M.  F.  A.,  Ph.,  G.,  F.  ^Y.  C.) 

[According  to  a letter  from  the  painter,  Mr.  Thomas  S.  Cummings,  dated 
New  York,  April  1,  1890,  the  picture  “is  a portrait  of  Mrs.  Castle,  wife  of 
Dr.  A.  C.  Castle,  an  eminent  dentist  of  YMshington  Scpiare,  N.  Y.,  deceased 
many  years  ago.”] 


1837.  45.  Martha  Washington. 

Three-quarter  length  of  a lady  in  the  costume  of  the  latter  part  of 
the  last  century,  standing,  bare-headed,  sliglitly  turned  towards  the 
left,  but  looking  out  of  the  picture.  The  hair  is  combed  backwards, 
and  ornamented  with  strings  of  pearls.  In  the  right  hand,  extended 
horizontally  towards  the  left,  she  holds  a sprig  of  floAvers,  the  left 
hangs  down  the  side  and  grasps  the  folds  of  the  overskirt.  In  the 
background  bushes  and  sky.  Rectangle. 

Engraved  surface  : 97  X 126  mm.  (Spi  X 
Plate-mark  : 179  X 255  mm.  (7  X 10''. ) 

Published  in 

1.  Sparks,  The  Writings  of  George  Washington,  1837,  Yol.  I,  opp.  p.  105. 
Underneath:  Engraved  by , I.  Cheney  & J.  G.  Kellogg  | IMarl  ha  Wash- 
ington. 1 From  the  original  picture  by  \Yoolaston  in  the  | possession 
of  G.  \Y.  P.  Ciistis,  Es(ff  Aldington  House.  | Boston  : | American 
Stationers  Company. 


4 


50 


ENGRAVINGS  AND  LITHOGRAPPIS 


2.  Sparks,  The  Writings  of  George  Washington,  later  editions,  Vol.  I,  opp. 

p.  105.  Underneath  ; Engraved  by  J.  Cheney  & J.  G.  Kellogg  | 
Martha  Washington.  | From  the  original  picture  by  Woolaston  in 
the  I possession  of  G.  W.  P.  Custis,  Esc[!  Arlington  House.  (See 
“ List  of  Books,  etc.”) 

3.  The  Token,  1838,  opp.  p.  293.  Underneath  : Engraved  by  J.  Cheney 

& J.  G.  Kellogg  1 Martha  Washington.  | Printed  by  B.  Neale. 

4.  Sparks,  Life  of  Washington,  1839,  opp.  p.  98.  The  lettering  has  been 

restored,  as  under  No.  2.  (See  “ List  of  Books,  etc.'’) 

Proofs. 

With  the  lettering  as  under  No.  1,  but  without  the  artists’  names.  (II., 
E.  D.  C.) 

[It  has  been  stated  that  the  portrait  engraved  by  Cheney  and  Kellogg  as 
that  of  Martha  Washington,  in  reality  represents  Betty,  George  Washington’s 
only  sister,  who  married  Col.  Fielding  Lewis.  It  a]>pears,  however,  from 
investigations  lately  made  by  IMr.  Charles  Henry  Hart,  of  Philadelphia, 
soon  to  be  published,  or  which  ])robably  will  have  been  ])ublished  by  the 
time  this  catalogue  is  issued,  that  this  statement  cannot  be  accepted,  and 
that,  therefore,  the  portrait  must  retain  its  old  title.] 

1837.  46.  Martha  Washington. 

Head  of  an  elderly  lady,  with  a double  chin,  slightly  turned  to  right, 
but  the  eyes  looking  straight  out  of  tlie  picture.  On  the  head  a frilled 
cap ; the  shoulders,  partly  seen,  draped  hy  a kerchief.  Vignetted. 
Circular  shading  around  the  head. 

Extreme  limits  of  work  : 70  X 72  mm.  (2;}  X 2]".) 

Plate-mark:  172  X 247  mm.  (6|X9J".) 


Published  in 

1.  Sparks,  The  Writings  of  George  Washington,  1837,  Vol.  XII,  as  frontis- 

piece. LInderneath  : ^Martha  Washington.  | From  the  original  picture 
by  Stuart,  [ in  the  possession  of  the  Boston  Athenaeum.  | Engraved 
by  J.  Cheney.  | Boston,  | American  Stationers  Company.  A.  D. 
M?Kinzie  Print. 

2.  Sparks,  The  Writings  of  George  Washington,  later  editions,  Vol.  XII, 

as  frontispiece.  Underneath  : IMartha  Washington.  | From  the  orig- 
inal picture  by  Stuart,  | in  the  possession  of  the  Boston  Athenaeum.  | 
Engraved  by  J.  Cheney.  (See  “last  of  Books,  etc.”) 


EXECUTED  BY  JOHN  CHENEY. 


51 


3.  Sparks^  Life  of  George  Washington,  1839,  opp.  p.  424.  Lettered  as 
under  No.  2.  (See  “ List  of  Books,  etc.”) 

Proofs. 

1.  Before  all  lettering.  (U.  S.,  M.  F.  A.,  Ph.,  H.,  G.,  E.  D.  C.) 

2.  Lettered  as  in  the  tinislied  state,  but  without  the  printer’s  name. 

(E.  D.  C.) 

3.  With  the  lettering  as  under  No.  1 of  the  published  states.  (M.  F.  A.) 

[The  original  of  this  exquisite  engraving  is  the  celebrated  “ Athenseum 
Head,”  hy  Gilbert  Stuart,  deposited  by  the  Boston  Athenaeum  in  the 
Museum  of  Fine  Arts,  Boston.  Mrs.  Ednah  D.  Cheney  has  a slight  pre- 
paratory pencil  sketch  made  for  the  engraving  by  John  Cheney.] 


1838.  47.  Eeflection. 

(night.) 

A young  lady  kneeling  on  a balcony,  turned  slightly  towards  the 
left,  her  face  raised  to  heaven,  the  left  hand  in  her  lap,  the  right  upon 
the  left.  Before  her,  to  the  left,  is  a footstool,  and  against  it,  partly 
cut  off  by  the  left  margin,  a man’s  hat  with  featliers.  Behind  her,  on 
the  right,  part  of  a chair  is  seen,  with  a man’s  coat  upon  it.  On  the 
extreme  left  part  of  a column,  on  the  right  part  of  a curtain.  Back- 
ground bushes  and  sky,  with  the  moon,  intersected  by  horizontal 
clouds.  Kectangle. 

Engraved  surface  : 81  X 110  mra.  X 4 ) 

Plate-mark:  130  X 204  mm.  (5|^X  8'b) 

Published  in 

1.  The  Christian  Keepsake,  1838,  opp.  p.  145.  Underneath  : Painted 

by  Miss  Sharpe.  Eng*?  by  J.  Cheney  from  Edwards.  ] Bellec- 

tion  Printed  by  I).  Stevens. 

2.  Friendshij)s  Offering,  181^1,  opp,  p.  198.  Underneath;  Painted  by 

Miss  Sharpe.  Engd  by  J.  Cheney  from  Edwards.  ] Night. 

3.  ? ? ? ? Above  the  picture  ; The  Only  Daughter.  Underneath  : 

Painted  by  Miss  Sharpe.  Eng^  l)y  J.  Cheney  Irom  Edwards.  | 

Ileflection.  | “This  Thought  may  sootlie  the  gloomiest  hour,  | That 
we  may  meet  by  saving  pow’r,  | In  Ileav’n — beyond  the  Tomb.” 
(An  impression  in  this  state  in  the  possession  ol  klr.  Walter  K.  Wat- 
kins, Chelsea,  Mass.) 


52 


ENGRAVINGS  AND  LITHOGRAPHS 


Proofs, 

Before  all  lettering.  (M.  F.  A.,  G.,  E.  D C.) 

[It  appears  from  Letters  V and  YI,  j)i’^iAed  in  the  Appendix,  that 
this  plate  was  really  engraved  by  Seth  W.  Cheney,  and  only  finished 
by  John,  An  impression  of  the  engraving  which  served  as  the  original 
is  in  the  Phillips  Collection.  It  is  lettered  underneath  : Painted  by  Miss 
Sharpe.  Engraved  by  J.  C.  Edwards,  j Juliet.  [ London,  Hurst, 

Chance  & C?  K.  Jennings  & W.  Chaplin.  Cheapside.  & Giraldon  Bovinet 
&L  C?  Paris.] 


1839.  48.  Helen. 

(la  JEUNE  JAQUETTE. — ISABEL.) 

Nearly  full  length  of  a young  lady,  standing,  facing  the  spectator, 
the  head  slightly  inclined  to  left,  bareheaded,  holding  her  bonnet 
in  the  left  hand,  and  grasping  the  left  wrist  with  the  right  hand. 
The  hair  arranged  in  rich  curls  on  both  sides  of  the  head,  and  in 
braids  on  the  crown.  Low-necked  dress  trimmed  with  ribbons ; over 
it  a black  mantilla  trimmed  with  lace.  Background  of  rose-bushes 
and  sky,  lost  into  indistinctness  below.  Bectangle  defined  by  a faint 
line,  with  the  corners  cut  off. 

Bectangle  measured  through  the  centre  : 79  X 102  mm.  (3|  X 4".) 
Plate-mark  : 133  X 190  mm.  (5^  X 7j^". ) 

Published  in 

1.  The  Gift,  1839,  as  the  frontispiece.  Underneath  : A.  E.  Chalon 

pinx.  J.  Cheney  Sculp.  [These  names  are  placed  along  the 

cut-off  corners.  The  S reversed,  as  shown.]  | Helen.  | Printed  by 

D.  Stevens. 

2.  The  Literary  Souvenir,  ISlfi,  opp.  p,  175,  Underneath:  A.  E.  Chalon 

pinx.  J.  Cheney  Sculp.  [These  names  along  the  cut-off  cor- 

ners] I Printed  by  D.  Stevens.  | La  Jeune  Jaquette. 

3.  The  Literary  Souvenir,  as  the  frontispiece.  Underneath  : A. 

E.  Chalon  pinx,  J.  Cheney  Sculp.  [Placed  along  the  cut-off 

corners.]  | Isabel.  | Printed  by  D.  Stevens.  (In  the  only  copy  of  this 
book  which  I have  seen,  the  printer’s  address  was  very  indistinct,  as 
if  it  had  been  the  intention  to  wipe  it  out.  This  state  may  occur, 
therefore,  apparently  without  printer’s  address.) 


EXECUTED  BY  JOHN  CHENEY. 


53 


Proofs. 

1.  Not  nmch  more  than  laid  in.  (M.  F.  A.,  H.  In  Mr.  Hart’s  proof 

the  lai’cre  white  rose  in  the  backoTOimd  lias  been  toned  down  with 

o O 

pencil.) 

2.  Almost  finished,  without  the  fine  diagonal  lines  in  the  sky. 

(M.  F.  A.) 

3 ? With  artists’  names  only  ? On  a proof  apparently  in  this  state, 
in  the  possession  of  Mrs.  Electa  W.  Goodman,  the  paper  is  rubbed 
where  the  title  and  the  printer’s  address  would  stand,  if  the  im- 
pression were  from  the  fully  lettered  plate.  They  may,  therefore, 
have  been  erased. 

4.  With  the  lettering,  as  under  No.  1 of  the  published  states.  (E.  D.  C.) 

[In  the  Phillips  Collection  there  is  a false  proof,  at  first  sight  without 
lettering,  but  with  the  late  title,  Isabel,  still  visible.] 

[The.  original  water-color  from  which  this  engraving  was  made  hangs  in 
the  Print  Poom  at  the  Penns.  Academy  of  the  Fine  Arts,  Philadelphia. 
It  is  not,  however,  in  the  catalogue.] 

1839.  49.  Title  Vignette. 

(my  boyhood’s  love.  — THE  POETS  CHOICE. — JULIA.) 

Head,  neck,  shoulders,  and  left  hand  of  a young  lady,  holding  over 
her  head  a fan  made  of  feathers.  Vignetted.  Slight  shading  in  the 
background  over  the  shoulders. 

Extreme  limits  of  work  : 42  X .o4  mm.  (1]~^  X 2^".) 

Plate-mark:  140  X 191  mm.  (5j\X7i".) 

Published  in 

1.  The  Oift,  1830,  on  the  engraved  title-page,  lettered  ; The  Gift.  | 

1831).  I (Vignette.)  | T.  Sully,  ])inx.  J.  Cheney,  sc.  1 Edited  by 

IMiss  Leslie.  | Philadelphia  : 1 E.  L.  Carey  A A.  Hart.  (See  “ List 
of  Looks,  etc.”) 

2,  The  Literarij  Honvenh',  IS^O,  o])]).  ]>.  88.  The  lettering  of  the  title- 

]>age,  except  the  names  of  the  ailists,  has  been  removed,  and  a frame 
has  l)een  added,  consisting  of  several  lines,  with  corner  ornaments, 
and  with  scroll-work  around  them.  M(‘asur('nu‘nt  of  the  Iraine, 
inside  of  the  lines  : (U)  X 78  min.  (2^^^  X dj\A)  Underneath  the 
frame  : My  Loyhood’s  Love. 


54 


ENGRAVINGS  AND  LITHOGRAPHS 


3.  Mrs.  Norton,  The  Dream  and  Other  Poems,  1841,  as  the  frontispiece. 

Same  as  the  preceding,  except  the  title,  which  has  been  changed  to  : 
The  Poets  Choice. 

4.  The  Literary  Souvenir,  1845,  opp.  p.  138.  Same  as  the  two  preceding, 

except  the  title,  which  has  been  changed  to  : Julia. 

Proofs. 

1.  Before  all  lettering.  (M.  F.  A.,  G.,  E.  D.  C.) 

2.  With  artists’  names  only.  (M.  F.  A.) 

3.  With  the  lettering  of  the  title-page,  but  without  the  artists’  names. 

(U.  S.  It  is  impossible  to  explain  the  curious  difference  between 
2 and  3,  as  the  artists’  names  do  not  seem  to  have  been  wiped  out  on 
the  plate  or  erased  on  the  impression.  The  fine  inner  lines  in  the 
letters  of  the  words  “ The  Gift,”  which  are  engraved  on  the  finished 
state,  seem  to  have  been  added  with  pencil  on  this  proof.  Sucli 
lines  have  also  been  pencilled  into  the  numerals  of  the  year,  1839.) 

[In  the  “List  of  Plates,”  in  “The  Gift,”  for  1839,  the  engraver’s  name 
is  erroneously  given  J.  B.  Forrest  j 

1839.  50.  Title  Vignette. 

Head,  neck,  and  shoulders  of  a lady,  the  liead  turned  to  left,  the 
eyes  raised,  tlie  mouth  slightly  opened.  The  liair,  undone,  firlls 
loosely  over  the  shoulders.  Vignetted.  No  shading  in  the  back- 
ground. 

Extreme  limits  of  work  : 38  X 41  mm.  (U  X 1|A) 
riate-mark  : 141  X 229  mm.  X 0". 

Published  m 

1.  The  Christian  KeejJsaJcc,  1839,  on  the  engraved  title-page,  lettered  : 

The  I Christian  Keepsake.  | 1839.  | Edited  by  the  Rev.  John  A. 
Clark.  I (Vignette.)  | J.  Cheney,  sculp.  | Philadelphia.  | W.  Mar- 
shall & C“  I , 

2.  Friendships  OJferiur/,  I84I,  on  the  engraved  title-page,  lettered : 

Friendships  Offering  | 1841  | (Vignette.)  | J.  Cheney,  sculp.  | Ed- 
ited by  Miss  C.  H.  W aterman.  | Philadelphia  | Marshall,  Williams 
& Butler.  I J.  WTut.  Sc. 

Proofs. 

Finished,  but  before  all  lettering.  (U.  S.,  M.  F.  A.,  G.,  E.  D.  C.) 

[According  to  the  “ List  of  Embellishments”  in  the  “ Friendships  Offer- 
ing,” the  design  is  by  P.  Williams.] 


EXECUTED  BY  JOHN  CHENEY. 


55 


1840.  51.  Title  Vignette. 

Head,  neck,  and  shoulders  of  a young  lady,  the  head  turned  to  left 
and  slightly  bent  downwards.  The  hair  is  partly  done  up  in  braids 
at  the  back  of  the  head,  and  partly  falls  over  the  shoulders  in  loose 
< ringlets.  Vignetted.  No  shading  in  the  background. 

Extreme  limits  of  work  ; 35  X 38  mm.  (If  X 
Plate-mark;  150  X202  mm.  (5YfX8''^) 

Published  in 

1.  The  Token,  ISJ^O,  on  the  engraved  title-page,  lettered:  The  Token  | 

and  I Atlantic  Souvenir  | (Vignette.)  | J.  Cheney  Sculp.  | Boston:  ] 
Otis,  Broaders  & Company  | MDCCCXL.  | B.  Andrews  Prini  | . 

2.  The  Religious  Souvenir,  181^5,  on  the  engraved  title-page,  lettered  : 

The  I Religious  Souvenir  | (Vignette.)  | J.  Cheney  Sculp.  | Hart- 
ford, I S.  Andrus  & Son. 

3.  The  Religious  Souvenir,  184-6,  on  the  engraved  title-page,  with  same 

lettering  as  before. 

4.  llie  Religious  Souvenir,  no  date,  on  the  engraved  title-page,  with  same 

lettering  as  before. 

5.  Remember ! No  date,  on  the  title-page,  wdth  the  following  lettering 

printed  from  type,  except  the  engraver’s  name,  w^hich  is  engraved  ; 
Remember!  ] A Keepsake.  | Edited  by  | Richard  and  Elizabeth  Stod- 
dard. I (Vignette.)  | J.  Chene}^  Sculp.  | New  York  : [ Published  by 
Geo.  A.  Leavitt,  ] No.  8 Howaird  Street. 

Proofs. 

1.  Before  all  lettering.  (U.  S.,  M.  F.  A.,  G.,  E.  D.  C.) 

2.  With  only  : J.  Cheney  Sculp.  (M.  E.  A.) 

[This  head  is  apparently  taken  from  an  engraving  of  a nearly  full-length 
figure,  called  “ Juliet,”  by  H.  Cook,  after  E.  T.  Parris.  Possibly  both  are 
from  the  same  original.  If  this  is  not  the  case,  Cheney  has  greatly  refined 
upon  Cook.] 


1840.  52.  Childhood. 

(ALFRED. — OUR  FATHERS  DARLING.) 

Three-quarter  length  of  a little  hoy,  the  body  turned  tow'ards  the 
left,  the  head,  witli  long  ringlets,  sliglitly  in  the  oi)posito  direction. 


56 


ENGRAVINGS  AND  LITHOGRAPHS 


Both  arms  rest  upon  a rock  to  the  left.  The  body  is  naked  to  the 
waist.  Simple  background  consisting  of  horizontal  and  diagonal  lines, 
with  some  gradation  towards  the  lower  right.  Oval,  enclosed  in  a 
rectangle. 

Oval : 85  X 98  mm.  (3j%  X 
Rectangle  : 88  X 103  mm.  (3jh  X 43^"". ) 

Plate-mark  : 153  X 201  mm.  (6  X 

Published  in 

1.  The  Gift,  IS40,  as  the  frontispiece.  Underneath:  T.  Sully.  J. 

Cheney.  | Childhood.  | Printed  by  Butler  & Long  | . 

2.  The  Gift,  for  1840,  but  without  date,  as  the  frontispiece.  Lettered  as 

above.  (See  “ List  of  Books,  etc.”) 

3.  The  Literary  Souvenir,  18Jf5,  as  the  frontispiece.  Lettered  as  above, 

with  the  exception  of  the  title,  which  has  been  changed  to  : Alfred. 

4.  ? ? ? f Lettered  as  above,  with  the  exception  of  the  title,  which  has 

been  changed  to  : Our  Fathers  Darling.  (Ph.,  H.) 

Proofs. 

1.  Unfinished.  The  rectangle  consists  of  horizontal  lines  only.  (M.  F. 

A.  The  proof  has  been  touched  up  by  the  painter,  and  has  the  fol- 
lowing remarks  in  his  handwriting  : “See  the  hands  — The  left  be- 
tween Thumb  & fore-finger.  Also  the  3*^  finger  of  the  right,  & the 
thumb.  The  dimple  near  the  elbow.  Division  on  Shoulder.  Chin. 
Uose.  Flatness  under  arm.  Breast’s.  Thorax  & [beginning  of 
thigh,  — this  crossed  out  again]  the  abdomen  Shoulder.  I have 
ventured  a touch  on  the  rock  — But  these  touches  are  all  harsh,  I 
could  not  manage  otherwise  on  the  kind  of  paper.”) 

2.  As  belore,  but  with  alterations  suggested  bv  the  painter  carried  out. 

(M.  F.  A.) 

3.  Finished,  but  before  all  lettering.  (Ph.) 

4.  With  the  lettering  of  the  first  published  state.  (Ph.,  G.) 

[The  original  is  in  the  Carey  Collection,  Penns.  Academy  of  the  Fine 
Arts,  A 74.  The  young  sitter  afterwards  became  the  Rev.  Alfred  Langdon 
Elwyn,  a clergyman  of  the  Protestant  Episcopal  Church,  of  Philadelphia. 
The  draft  for,  or  copy  of,  the  bill  for  this  plate,  for  ^325,  is  still  preserved 
among  John  Cheney’s  papers  at  Manchester.  — See  a reduction  of  the  same 
subject  among  “Bank-note  Work.”] 


EXECUTED  BY  JOHN  CHENEY. 


57 


1840.  53.  Title  Vignette. 

Head,  neck,  left  shoulder,  part  of  the  hack,  and  left  lower  arm,  with 
the  hand,  of  a young  lad}",  the  face  almost  in  front  view.  The  chin 
rests  in  the  hand,  which  is  in  a horizontal  position.  The  rich  hair  is 
in  long,  loose  ringlets,  through  which  passes  a ribbon  near  the  crown 
of  the  head.  Vignetted.  Circular  shading  around  the  head. 

Extreme  limits  of  "work  : 50  X 49  mm.  (2  X 
Plate-mark  : 143  X 232  mm.  (5f  X 9^^. ) 

Published  in 

1.  The  Gift,  ISJfO,  on  the  engraved  title-page,  lettered  : The  Gift  | 1840  ] 

(Ahgnette.)  [ T.  Sully.  J.  Cheney.  | Edited  by  Miss  Leslie.  | 
Philadelphia  | E.  L.  Carey  and  A.  Hart.  | J.  & W.  M.  Warr.  j 
Printed  by  Butler  & Long. 

2.  The  Gift,  for  1840,  but  without  date,  on  the  engraved  title-page,  lettered 

as  under  No.  1,  except  that;  1840  [ has  been  removed,  and  : an  [ 
annual  | substituted  for  it.  (See  ‘‘List  of  Books,  etc.”) 

Proofs. 

1.  Before  all  lettering.  (M.  F.  A.,  IL,  G.,  E.  D.  There  are  slight 

dilferences  in  the  background  in  some  of  these  proofs,  which  it  is 
impossible  to  describe.) 

2.  Mith  artists’  names  onl}o  (U.  S.,  M.  P’.  A.) 

[Portrait  of  Miss  Blanche  Sully,  the  painter’s  daughter.  Communicated 
hy  Mr.  Charles  Henry  Hart.  — The  draft  for,  or  coi")}'  of,  the  bill  for  this 
]>]ate,  for  $150,  is  still  preserved  among  John  Cheney’s  papers  at 
Manchester.] 


1840.  54.  Isabella. 

(bkatrick.) 

Nearly  tliree-quartcr  Icngtli  of  a young  nun,  standing,  j-trcsonting 
the  full  front  view  to  the  sp('ctator.  'Tlui  rigid  hand  liolds  against  the 
bf)Som  a small  cross,  which  is  attached  to  a rosaiy  thrown  over  the 
shoulders.  ’Fhc  left  arm  rests  on  a stone  parapet  which  tills  the  I'ight 
lower  coriK!!'  of  tin;  picture,  and  the  h'ft  hand  holds  tlu'  string  to 
which  tlie  beads  of  the  rosary  and  the  cross  are  attached.  In  the  lower 


58 


ENGRAVINGS  AND  LITHOGRAPHS 


left  corner  appear  slight  indications  of  landscape ; the  rest  of  the 
background  is  sky.  Kectangie. 

Engraved  surface  : 77  X 97  mm.  (3  X 3|".) 

Plate-mark  : 141  X 221  mm.  (of  X 8|''.) 

Published  in 

1.  The  Gift,  18JfO,  opp.  p.  34.  Underneath  : T.  Sully.  J.  Cheney  ] 

Isabella.  | Printed  by  Butler  & Long. 

2.  The  Gift,  for  1840,  but  without  date,  opp.  p.  34.  Lettered  as  above, 

(See  “ List  of  Books,  etc.”) 

3.  Griswold,  The  Poets  and  Poetry  of  America,  ISfS,  opp.  p.  384,  lettered 

as  above,  with  the  exception  of  the  title,  which  has  beeii  changed  to  : 
Beatrice. 

Proofs. 

1.  Before  any  lettering.  (Ph.,  G.,  E.  U.  C.  The  proof  in  the  Philh'ps 

Collection  is  marked  unfinislied,”  but  seems  to  be  hnisbed.  As 
there  may  be  false  proofs  of  this  state  in  existence,  it  will  be  well 
to  note  that  the  true  proofs  before  letter  can  be  told  by  two  short 
perpendicular  strokes,  close  together,  immediately  below  the  lower 
margin  and  about  3 mm.  [about  to  the  left  of  the  right  hand 
margin.) 

2.  With  artists’  names  and  printers’  address  only.  (Ph.) 

3.  With  the  lettering  of  the  third  published  state.  (Ph.) 

[A  draft  for,  or  copy  of,  the  bill  for  this  plate,  for  .^325,  is  still 
preserved  among  John  Cheney’s  papers  at  ^Manchester,  Conn.  The  original 
by  Sully  is  in  the  Cary  Collection  at  the  Penns.  Academy  of  the  Fine 
Arts,  A 61.] 

1840.  55.  Lady  Reading. 

(the  portrait.  — THE  SCRAP  BOOK.) 

Half-length  of  a lady,  fronting  the  spectator,  the  head  turned 
slightly  to  the  right  and  downward,  reading  in  a book  resting  on  lier 
left  arm,  the  leaves  held  open  by  tlie  rigid  hand,  which  is  the  only 
one  visible.  The  hair  is  partly  done  up  in  braids,  and  falls  loosely 
over  the  back  of  the  neck  and  the  right  shoulder.  The  head  is 
draped  with  a cloth  which  falls  over  the  shoulders.  In  the  hair,  on 
the  crown  of  the  head,  is  an  ornament  consisting  of  a number  of  rings. 
In  the  upper  left-hand  corner  is  visible  part  of  an  arch.  Simple 


EXECUTED  BY  JOHN  CHENEY. 


59 


gradated  background,  consisting  of  straight  horizontal  and  waved 
vertical  lines  crossing  one  another.  Rectangle,  surrounded  by  two 
lines,  sometimes  running  into  one,  at  a distance  of  about  1 mm. 

Engraved  surface  without  the  lines  : 83  X 99  mm.  (3J  X 3ff'5) 

With  the  lines  : 85  X 101  mm.  (3j\  X 
Plate-mark  : 114  X 222  mm.  (5f|^X8f". ) 


1.  The  Christian  KeejJsaJce^  18^0,  opp.  p.  43.  Underneath  ; M.  J.  De 

Franca.  J.  Cheney.  | Lady  Reading.  | Printed  by  D.  Stevens. 

2.  Friendship’s  Offering^  opp.  p.  266.  Underneath  : M.  J.  De 

P’ranca.  J.  Cdieney.  | The  Portrait  ] . 

3.  The  Ladies’  Scrap  Book,  1845,  as  the  frontispiece.  Underneath  ; M. 

J.  De  Franca.  J.  Cheney.  [ The  Scrap  Book. 


Trial-proof,  not  quite  finished.  (M.  F.  A.) 

[All  but  the  hair  and  background  is  executed  in  stipple,  the  only 
known  plate  by  John  Cheney  engraved  in  this  manner.] 


Xearly  three-quarter  length  of  a young  woman,  standing,  facing 
the  spectator,  and  resting  a basket  against  her  left  hip,  holding  it  with 
her  left  hand,  which  is  the  only  one  visible.  Upon  her  head,  which 
is  slightl}’’  inclined  to  the  left,  she  wears  a bonnet,  the  left  string  of 
which  hangs  over  her  bosom.  The  hair  is  loosely  done  iqi,  and  one 
strand  hangs  down  over  the  right  shoulder.  Over  her  dress  she  wears 
a sort  of  cape.  Indication  of  hills  in  the  distance  on  the  left ; the 
rest  of  the  l)ackground  is  sky.  Rectangle. 

Engraved  .surface  : 80  X 97  mm.  (3-J-  X 
Plate-mark  : 152  X 228  mm.  (G  X 8RC. ) 


Published  in 


Proofs. 


1842. 


56.  The  Country  Girl. 

(maidenhood.) 


Published  in 


GO 


ENGRAVINGS  AND  LITHOGRAPHS 


2.  Griswold,  The  Foets  and  Poetry  of  America,  1843,  opp.  p.  301,  lettered 
as  above,  with  the  exception  of  the  title,  which  has  been  changed  to  : 
IMaidenhood, 


Proofs. 

1.  Unfinished  trial-proof.  (Ph.) 

2.  Finished,  but  before  lettering.  (Ph.) 

3.  With  lettering  of  No.  1 of  published  states.  (M.  F.  A.,  Ph.,  G.) 

4.  With  lettering  of  No.  2 of  published  states.  (II.) 

[The  head  is  a jiortrait  of  a Miss  Cook.  Communicated  hy  Dr.  L.  F. 
Koecker,  of  Philadelphia.  — The  draft  for,  or  copy  of,  a bill  for  “Country 
Girl”  and  “Gipsy”  (see  No.  50),  for  $500  for  the  two,  is  still  preserved 
among  John  Cheney’s  papers  at  Manchester,  Conn.] 

1843.  57.  Title  Vignette. 

Head,  neck,  part  of  bust,  and  left  lower  arm  and  hand  of  a young 
lady.  The  head,  slightly  turned  to  left,  rests  upon  the  hand. 
The  very  rich  hair  falls  upon  the  shoulders  in  loose  ringlets.  Vig- 
netted. Circular  shading  around  the  head. 

Extreme  limits  of  woik  : 62  X 70  mm.  X 2|". ) 
riate-mark  ; 155  X 220  mm.  (6J  X 

Published  in 

1.  llie  Gift,  I843,  on  the  engraved  title-page,  lettered  : The  Gift  | 1842  | 

(Vignette.)  | T.  Sully.  [Part  of  the  hair  divides  this  from]  J. 
Cheney.  | Philadelphia  | E.  L.  Carey  and  A.  Hart.  | J.  Warr.  | 
Printed  by  Butler  & Long.  (See  “ List  of  Books,  etc.”) 

2.  The  Literary  Souvenir,  1844i  on  the  engraved  title-page,  lettered : 

The  I Literary  j Souvenir  | 1844.  | (Vignette.)  | T.  Sully.  [Part 
of  the  hair  divides  this  from]  J.  Cheney.  | Philadelphia  | Carey  and 
Hart.  I W.  L.  Germon. 


Proofs. 

1.  LTnfinished  trial-proof.  (G.) 

2.  With  lettering  of  No.  1 of  published  states.  (Ph.) 

[Portrait  of  MioS  Blanche  Sully,  the  painter’s  daughter.  Communicated 
hy  Mr.  Chas.  Henry  Hart.  — A draft  for,  or  copy  of,  the  bill  for  this  plate, 
for  $150,  is  still  preserved  among  John  Cheney’s  papers  at  ^lanchester. 
Conn.] 


EXECUTED  BY  JOHN  CHENEY. 


61 


1842.  58.  Dulcinea. 

(the  SPANISH  MAID.) 

Three-quarter  length  of  a girl,  seated,  the  body  turned  somewhat  to 
right,  the  face  full  front,  as  if  she  were  looking  into  a mirror  before 
her,  doing  up  her  back  hair.  She  wears  a chemise,  corset  and  petti- 
coat, and  a piece  of  ribbon  lies  across  her  lap.  Parts  of  the  seat  and 
back  of  the  chair  are  visible,  over  the  latter  a piece  of  drapery  hangs 
ill  straight  folds.  To  the  right  is  j^art  of  a curtain.  Simple  gradated 
background,  consisting  of  straight  perpendicular  and  wavy  horizontal 
lines  crossing  one  another,  with  a few  diagonals  near  the  left  margin 
in  the  upper  half.  Eectangle. 

Engraved  surface  : 83  X 101  mm.  (3f  X i".) 

Plate-mark  ; 152  X 227  mm.  (6  X 8p|". ) 

Published  in 

1.  The  Gift,  opp.  p.  43.  Underneath  : C.  P.  Leslie  E.  A.  J. 

Cheney.  ] Dulcinea.  | Printed  by  Butler  & Long.  (See  “ List  of 

Books,  etc.”) 

2.  Griswold,  The  Poets  and  Poetry  of  America,  1843,  opp.  p.  46,  lettered 

as  above,  Avith  the  exception  of  the  title,  which  has  been  changed  to  : 

The  Spanish  Maid. 

3.  ? ? ? ? The  plate  lettered  as  under  No.  2 has  also  been  used  in  an- 

other book,  the  pages  of  which  measured  only  120  X UO  inni. 

(4l|"  X fiVO)  whereas  those  of  No.  2 measure  153  X 240  mm. 

(6  X (Impression  in  my  possession.) 

Proofs. 

1.  Before  all  lettering.  (Ph.) 

2.  With  lettering  of  No.  1 of  published  states.  (Ph.,  G.) 

[A  draft  for,  or  copy  of,  the  bill  for  this  plate,  for  $250,  is  still  pre- 
served among  John  Cheney’s  papers,  at  Manchester,  Conn.] 


1842.  59.  The  Gipsy. 

(the  Indian’s  bride.) 

Three-quarter  length  of  a girl  reclining  on  tlie  ground,  lier  head 
supported  on  Ikm’  hands,  which  rest  iqion  one  another,  tlic  riglit  lower- 


G2 


ENGRAVINGS  AND  LITHOGRAPHS 


most,  on  some  drapery  partly  covering  a rock  in  the  right  lower  fore- 
ground. The  head  is  covered  by  a cloth,  forming  a hood  and  falling 
over  the  shoulders.  Under  this  drapery  she  wears  a garment  of  striped 
stuff,  visible  on  the  i*ight  arm.  On  tlie  left  arm  is  a bracelet  of  beads, 
and  on  one  of  the  fingers  of  the  left  hand  a ring.  To  the  right  and 
in  the  upper  part  of  the  picture  the  distance  is  shut  out  by  a large  and 
a small  tree  and  foliage.  To  the  left,  in  tlie  middle  distance,  is  seen 
a tent,  with  a fire  burning  to  the  right  of  it,  and  to  the  left  a tree 
behind  it.  Hectangle. 

Engraved  surface  : 80  X 95  mm.  (.3g  X Sf-f".) 

Plate-mark  : 150  X 228  mm.  (5|-f  X 9".) 

Published  in 

1.  The  Gift,  I843,  opp.  p.  151.  Underneath  : T.  Sidly.  J.  Cheney.  | 

The  Gipsy.  \ Printed  by  Butler  & Long.  (See  “ List  of  Books, 
etc.”) 

2.  Griswold,  The  Poets  and  Poetry  of  America,  1843,  opp  p.  232,  lettered 

as  above,  with  the  exception  of  the  title,  which  has  been  changed 
to  : The  Indian’s  Bride. 


Proofs. 

1.  Trial-proof,  nearly  finished.  (Ph.,  G.) 

2.  Finished,  but  before  all  lettering.  (Ph.) 

3.  Lettered  as  under  No.  1 of  published  states.  (M.  F.  A.,  Ph.) 

[There  is  an  inferior  copy  of  this  engraving,  measuring  72  X 94  mm. 
(2-|X3[^"),  with  the  following  lettering  underneath:  T.  Sully  Pinx 
T.  Clark  sc.  ] The  Gipsy.  1 London  Geo.  Henderson,  2.  Old 

Bailey.] 

18-1:2.  60-63.  Four  Vignettes. 

FOR  COWFER’s  “ THE  TASK  AND  OTHER  POEMS.” 

There  is  a book  extant  with  the  following  title  : The  Task,  | and  other 
poems  : | By  j William  Cowper.  | With  numerous  illustrations,  | engraved 
by  Cheney,  Cushman,  etc.  | From  Drawings  by  John  Gilbert.  | Philadel- 
phia : I Carey  and  Hart.  | MDCCCXLII.  Among  John  Cheney’s  papers  at 
Manchester,  Conn.,  there  is  still  preserved  a draft  for,  or  copy  of,  a bill 
for  “Four  vignettes  for  Cowper’s  ‘Task,’ 850  each  8200.00.”  Of  the  ten 
vignettes  in  the  book,  of  which  one  is  on  the  title-page,  only  two,  those 


EXECUTED  BY  JOHN  CHENEY. 


C3 


opp.  pp.  37  and  93,  bear  an  engraver’s  mark  : Win.  H.  Ellis  sc.  Among 
the  proofs  left  by  John  Cheney,  there  are  only  two,  engraved  on  one  plate, 
finished,  but  without  lettering,  which  occur  in  the  book.  These  are  : 

Opp.  p.  119,  illustrating  “ The  Task.  Book  V.  — The  Winter  Morning 
Walk.”  Engraved  underneath  : “ ’T  is  morning  ; and  the  Sun,  with  ruddy 
orb  I Ascending,  fires  the  horizon  ; ” ] • 

Opp.  p.  220,  illustrating  the  poem,  “ On  the  receipt  of  my  mother’s  pic- 
ture.” Engraved  underneath  : “ Thy  nightly  visits  to  my  chamber  made,  ] 
That  thou  mightst  know  me  safe  and  warmly  laid  ; ” | • 

It  will  be  seen  that  the  second  of  these  vignettes  is  not  for  “ The  Task,” 
but  the  bill  must,  probably,  not  be  taken  too  literallv,  and  the  expression 
used  ill  it,  “ The  Task,”  must  be  taken  as  applying  to  the  whole  book. 
We  may,  therefore,  accept  these  two  vignettes  as  the  work  of  John  Cheney. 
It  is  not  possible,  however,  to  decide  with  absolute  certainty  which  two  of 
the  remaining  six  are  to  be  assigned  to  him.  I am  inclined  to  think  that 
those  opposite  pp.  151  and  229  may  be  by  him.  They  are  certainly  among 
the  best  in  the  book,  and  much  more  worthy  of  him  than,  for  instance,  the 
vignette  which  faces  p.  84. 

Accepting  this  theory,  the  four  vignettes  by  John  Cheney  would  be  those 
opp.  pp.  119,  151,  220,  and  229,  that  is  to  say,  the  last  four  in  the  book. 


1843.  64.  Mercy’s  Dream. 

(the  angel  visitor.) 

On  the  left,  reclining  on  the  ground  against  a hillock,  the  feet 
towards  the  right,  is  seen  a female  figure  with  eyes  closed  and  head 
somewhat  raised,  partly  supported  on  the  right  hand  resting  on  the 
ground,  the  left  held  against  the  bosom.  An  angel,  descending  from 
heaven,  and  pointing  upwards  with  the  left  hand,  is  about  to  place  a 
crown  whicli  sends  out  rays  of  light,  upon  the  head  of  the  female  with 
his  right  hand.  To  tlie  left  rocks  and  trees  ; to  the  right  an  extensive 
landscape  view,  with  a stream  across  the  middle  distance.  Rectangle. 

Engraved  surface  : 80  X 102  inin.  X 
Plate-mark  : 151  X 226  nim.  (6  X 


Published  in 

1.  The  Gift,  as  the  frontispiece.  Undcrncatli  : D.  ITunting- 

ton.  .1.  Clieney.  | Mercy’s  Dream.  [ Printed  by  Butler  & 

Long.  (See  “List  of  Books,  etc.”) 


G4 


ENGRAVINGS  AND  LITHOGRAPHS 


2.  The  Gift,  for  1843,  but  without  date.  As  above.  (See  “ List  of 

Books,  etc.”) 

3.  Grisivold,  The  Poets  and  Poetry  of  England,  18J/S,  opp.  p.  204. 

Lettered  as  above,  with  the  exception  of  the  title,  which  has  been 
changed  to  : The  Angel  Visitor. 

4.  The  Gift,  for  1845,  but  without  date,  opp.  p.  286.  Lettered  as  under 

No.  3.  (See  “List  of  Books,  etc.”) 

Proofs. 

1.  Before  all  lettering.  (U.  S.,  M.  F.  A.,  Ph.,  G.) 

2.  With  lettering  as  under  No.  1 of  published  states.  (Ph.) 

[The  original,  according  to  information  kindly  furnished  by  Mr.  Hun- 
tington, was  painted  in  1841,  and  was  purchased  by  Mr.  Edward  L.  Carey, 
the  publisher,  of  Philadelphia.  It  is  now  in  the  Carey  Collection,  Penns. 
Academy  of  the  Fine  Arts,  A 73,  given  to  this  institution  by  Henry  C. 
Carey,  the  well-known  writer  on  ])olitical  economy,  and  brother  to  Edward 
L.  Carey.  The  picture  in  the  Corcoran  Gallery,  Washington,  is  a replica, 
painted  with  Mr.  Carey’s  consent,  and  mezzotinted  by  A.  11.  Ritchie.] 

1843.  65.  Title  Vignette. 

Head,  neck,  and  part  of  the  shoulders  of  a young  lady,  turned 
somewhat  to  left,  but  the  eyes  looking  straight  out  of  the  nicture. 
The  head  is  enveloped  in  two  cloths,  a light  one  with  a darker  one 
over  it,  crossed  under  the  chin.  Vignetted.  Circular  shading  around 
the  head. 

Extreme  limits  of  work  : 51  X 52  mm.  (2X 
Plate-mark  : 152  X 229  mm.  (6  X 9".) 

Published  in 

1.  The  Gift,  ISfS,  on  the  engraved  title-page,  lettered  ; The  Gift  | 1843  | 

(Vignette.)  | S.  W.  Cheney  J.  Cheney  | Philadelphia  | Carey 

and  Hart.  | J.  Warr.  | Printed  by  Butler  & Long.  (See  “ List  oi 
Books,  etc.”) 

2.  The  Gift,  for  1843,  but  without  date,  lettered  as  above,  with  the  date, 

1843,  removed.  (See  “ List  of  Books,  etc.”) 

Proofs. 

I have  found  no  real  proofs  from  this  plate.  There  is  a false  proof 
(M.  F.  A ),  showing  plate-mark,  with  the  lettering,  except  the 
artists’  names,  wiped  out,  and  visible  only  in  slight  traces. 


EXECUTED  BY  JOHN  CHENEY. 


65 


[The  original,  in  crayon,  is  a portrait  of  the  daughter  of  Vincenzo 
Caniuccini,  the  well-known  Roman  painter.  (Note  hy  Mrs.  Ednah  I). 
Cheney.')  It  belongs  to  the  Penns.  Academy  of  the  Fine  Arts,  where  it 
hangs  in  the  Print  Room,  but  it  is  not  on  the  catalogue.  On  the  same 
bill  with  the  “four  vignettes  for  Cowper’s  ‘Task  ’ ” (see  Nos.  60-63)  there 
is  an  item,  “ eight  steel  engravings  for  the  ‘ Gift,’  1843,  ^2000.00,”  but  there 
are  in  this  volume  only  five  plates  by  John  Cheney.] 


1843.  66.  Egeria. 

(KATE.) 

Head,  neck,  shoulders,  and  bust  of  a young  lady,  seen  in  three- 
quarter  view,  turned  towards  the  left.  The  hair  is  cut  short,  and 
done  up  loosely  about  the  middle  and  towards  the  back  of  the  head. 
In  the  left  ear  is  visible  an  ear-ring,  formed  of  a plain  ring.  A thin 
kerchief  about  the  neck,  folded  in  under  the  dress,  which  is  rather 
low-necked.  Background  cloudy.  Oval  enclosed  in  a rectangle. 

Rectangle : 74  X 89  mm.  (2^1  X 3|A ) 

Oval  : 56  X 69  mm.  (2y\  X 2^". ) 

Plate-mark  : 151  X 225  mm.  (6  X 8§") 

Published  in 

1.  The  Gift,  18fS,  opp.  p.  102.  Underneath  : E.  Malbone.  J. 

Cheney.  ] Egeria.  | Printed  by  Butler  & Long.  (See  “ List  of 
Books,  etc.”) 

2.  The  Gift,  for  1843,  but  without  date,  as  above.  (See  “ List  of  Books, 

etc.”) 

3.  Bayly,  Songs  and  Ballads,  18ff,  as  the  frontispiece.  Lettered  as  above, 

with  the  exception  of  the  title,  which  has  been  changed  to  : Kate. 
{Communicated  hy  Mr.  JVm.  J.  Carnyhell,  of  Philadeliohia.} 

Proofs. 

1.  In  the  oval  only.  (M.  F.  A.,  Ph.,  K.,  G.  One  of  the  proofs  in  the 

collection  of  the  Museum  of  Fine  Arts  has  the  rectangle  added  in 
pencil.) 

2.  With  the  rectangle,  but  with  artists’  names  only.  (Ph.) 

3.  With  lettering  as  under  No.  1 of  published  states.  (M.  F.  A.,  Ph., 

F.  W.  C.,  E.  1).  C.  It  is  possible  that  some  of  these  are  not  really 
proofs,  but  impressions  cut  from  the  larger  edition  of  “ The  Gift.’’) 


66 


ENGRAVINGS  AND  LITHOGRAPHS 


[The  original  of  this  most  delicate  engraving  is  a miniature  portrait  of 
Mrs.  Bleecker,  mother  of  the  late  Richard  Wade  Bleecker,  of  New  York.  It 
was  given  by  Mrs.  Bleecker  in  later  years  to  Inman,  when  he  was  painting 
her  portrait.  From  Inman  it  passed  to  Edw.  L.  Carey,  the  publisher  of 
“ The  Gift,”  for  whom  it  was  engraved  by  John  Cheney.  After  Mr.  Carey’s 
death  it  passed  to  his  brother-in-law,  Isaac  Lea,  the  distinguished  chonco- 
logist,  and  it  is  now  in  the  possession  of  Miss  Lea,  his  daughter.  The 
plate  is  said  to  have  been  in  the  possession  of  Richard  Wade  Bleecker  at  his 
death,  but  its  present  place  of  keeping  is  not  known.  — From  notes  fur- 
nished hy  Mr.  Geo.  Edivard  Sears  and  Mr.  Chas.  Henry  Hart.~\ 


184:3.  67.  The  Lace  Cap. 

(ELEONORA.) 

Nearly  three-quarter  length  of  a lady,  seated,  facing  the  spectator. 
The  hair  is  disposed  in  several  large  short  curls  on  each  side  of  the 
head.  The  head  is  covered  by  a lace  cap,  the  right  string  of  which 
hangs  down  over  the  bosom,  while  the  left  is  turned  back  over  the 
shoulder.  The  left  hand,  the  only  one  visible,  rests  against  the  ab- 
domen, the  elbow  of  the  left  arm  rests  upon  the  arm  of  the  chair.  In 
the  left  lower  corner  is  seen  part  of  a low  parapet ; beyond  it,  in  tlie 
distance,  trees  and  a building.  The  rest  of  the  background  is  sky. 
Rectangle,  above  which  is  seen  a faint  line. 

Engraved  surface  without  the  line  : 77  X 90  mm.  (Byh  X off'.) 

Plate-mark  : 149  X 226  mm.  (5§  X 8g".) 

Published  in 

1.  The  Gift.,  1843,  opp.  p.  152.  Underneath  : T.  Sully.  J.  Cheney 

& R.  W.  Dodson.  | The  Lace  Cap.  | Printed  by  Butler  & Long. 

(See  “ List  of  Books,  etc.”) 

2.  The  Gift,  for  1843,  but  without  date,  as  above.  (See  “ List  of  Books, 

etc.”) 

3.  The  Literary  Souvenir,  1845,  opp.  p.  34.  Lettered  as  above,  with  the 

exception  of  the  title,  which  has  been  changed  to  : Eleonora. 

Proofs. 

1.  Before  all  lettering.  (M.  F.  A.,  Ph.) 

2.  With  lettering  of  No.  1 of  published  states.  (Ph.) 


EXECUTED  BY  JOHN  CHENEY. 


67 


184:3.  68.  Florentine  Girl. 

(dOXXA  ISABELLA.) 

Half-length  of  a lady,  fronting  the  spectator,  the  head  slightly  turned 
to  left  and  downward,  the  eyes  cast  down,  the  hands  crossing  one 
another  in  tVont  of  the  waist,  so  that  the  right  is  over  the  left  arm 
and  the  left  under  the  right  arm.  The  hair  falls  down  in  ringlets 
back  of  the  ears,  the  back  part  of  the  head  is  draped  witli  a veil.  The 
dress,  witli  wide  sleeves,  is  low-necked,  allowing  a chemise  to  show, 
trimmed  with  edging.  Over  the  dress  a piece  of  drapery  is  worn, 
whidi  has  fallen  down  from  the  shoulders.  On  the  right  is  seen  part 
of  a curtain.  Simple,  slightly  gradated  background,  consisting  of  per- 
pendicular and  diagonal  lines  crossing  one  another.  Eectangle. 

Engraved  surface  : 78  X 95  mm.  X 3TC) 

Plate-mark  : 152  X 228  mm.  (6  X 8-h|".) 

Published  in 

1.  The  Gift,  18^3,  opY^.  p.  273.  Underneath:  D.  Huntington.  J. 

Cheney.  I Florentine  Girl.  I Printed  by  Butler  &c  Long.  (See  “ List 
of  Books,  etc.”) 

2.  The  Gift,  for  1843,  but  without  date,  as  above.  (See  “List  of  Books, 

etc.”) 

3.  The  Gift,  for  1845,  but  without  date.  (See  “ List  of  Books,  etc.”) 

4.  ? ? ? ? Underneath : D.  Huntington.  J.  Cheney.  | Donna 

Isabella.  \ Printed  by  Butler  | . (Ph.,  H.) 

Proofs. 

1.  Unfinished  trial-proof.  (M.  F.  A.) 

2.  Before  all  lettering.  (Ph.) 

3 ? Willi  artists’  names  only  ? (It  is  questionable  whether  such  ]U'oofs 
exist.  Among  the  proofs  given  by  l\[rs.  Ednah  D.  Cdieney  to  the 
M.  F.  A.,  there  is  one,  on  large  paper,  showing  idate-mark,  which 
at  first  sight  ajipears  to  be  of  this  state.  But  closer  examination 
reveals  traces  of  the  title.) 

4.  With  the  lettering  of  No.  1 of  the  published  states.  (0.) 

[Mr.  Huntington  writes  : “ Tlie  original  was  a ])aintiiig  done  in  Florence 
in  183f).  Life  size.  It  belonged  to  Uohert  T.  Dillon,  an  eminent  lawyer 
of  New  York.  ...  A I’cplica  with  some  variations  and  a little  larger  was 
j)ainted  for  tin;  late  Edw.  Carey.”  This  replica  is  in  the  Carey  Collection, 
Penns.  Academy  of  the  Fim^  .\i'ts,  A 53.  The  dress  dithus  sonu'what, 
there  is  more  of  the  body  visible  below,  and  the  background  also  dilKus.] 


68 


ENGRAVINGS  AND  LITHOGRAPHS 


1843.  69.  Orestes  supplicating  Apollo  for  Purification. 

Apollo,  facing  the  spectator,  is  seated  on  a throne  raised  upon  two 
steps.  With  his  left  hand  he  supports  his  lyre  upon  a tripod,  be- 
tween the  standards  of  which  is  the  serpent.  His  right  hand  hangs 
over  his  right  knee.  The  right  foot  rests  upon  a footstool,  upon 
which  lies  a branch  of  laurel.  He  is  looking  down  towards  the  left 
upon  Orestes,  seen  in  protile,  who,  looking  up  towards  Apollo,  kneels 
at  the  foot  of  the  throne,  and  embraces  the  footstool  with  both  arms. 
On  the  lower  step  of  the  throne  lies  the  sword  of  Orestes.  In  the 
lower  left  corner  are  partly  seen  several  furies,  asleep  ; in  the  lower 
right,  part  of  another,  in  shadow.  Part  of  a Doric  column  at  the 
extreme  left.  Tlie  background  is  blank,  with  the  exception  of  some 
indication  of  shading  by  horizontal  lines  in  the  lower  part  on  the 
left.  Ilectangle,  delined  by  a line. 

Engraved  surface  : 179  X 127  min.  (7  X j".) 

Plate-mark  : ? X ? 


Published  in 

The  Pioneer,  ISIfS,  for  March,  o])p.  ]).  !)7.  Lettered,  above  : Orestes  sup- 
. plicating  Apollo  for  purilication.  Underneath  : Flaxman.  J. 

Cheney.  | Orestes.  Thou  knowest.  Oh  Apollo  ! | I have  clone  no 
deed  of  base  injustice.  \ Euiuenides.  | The  Pioneer,  March,  1843. 


1843.  70.  Geo.  B.  Doane,  M.  D. 

Head,  neck,  and  part  of  the  bust  of  a gentleman  in  the  full  vigor 
of  life,  slightly  turned  to  tlie  left,  liglited  from  the  right,  the  eyes 
looking  straight  out  of  the  picture,  only  the  left  shoulder  visible.  lie 
wears  a high-collared  coat,  and  a very  broad  dark  stock,  over  which  a 
narrow  standing  collar  is  seen.  Plain  shirt-front.  Vignetted.  In  the 
unfinished  state  there  is  a circular  background  of  shading,  formed  by 
horizontal  ruled  lines.  In  the  finished  state  this  background  has  been 
removed. 

Extreme  limits  of  the  work  with  the  background  : 85  X 82  mm,  (Sy^XSI".) 

'Without  the  background  : 56  X 68  mm.  (2^  X 

Plate-mark  : 178  X 241  mm.  (7  X 9P'.)  See  below,  under  “ Proofs,  2.” 


EXECUTED  BY  JOHN  CHENEY. 


69 


Published  in 

1.  The  N.  E.  Quarterly  Journal  of  Medicine  and  Surgery,  Vol.  I,  ISJjJ, 

as  the  frontispiece.  Underneath:  Geo.  B.  Doane,  M.  D.  [ Badger. 
Pinxf  J.  Cheney.  Sc.  (The  plate  illustrates  a “ Memoir 

of  Dr.  Doane,”  on  pp.  587-592  of  the  volume,  which  was  written 
by  Dr.  Shattuck.) 

2.  Memoir  of  George  B.  Doane,  M.  D.  No  date.  Lettered  as  above. 

(This  memoir  is  a reprint  of  Dr.  Shattuck’s  article,  extended  to 
eight  pages.  — Communicated  by  Mr.  George  Doane  Rand,  of  Port- 
land, Me.,  who  has  a copy  of  the  pamphlet.) 

Proofs. 

1.  Unfinished.  With  the  circular  l)ackground.  (E.  D.  C.) 

2.  Finished.  Lettered  underneath  : Geo.  B.  Doane,  M.  D.  | Badger. 

Pinxi  J.  Cheney.  Sc.  | C Thomas  Prt'  j . (Bostonian  So- 

ciety, Boston.  The  printer’s  address  is  so  near  the  lower  margin  of 
the  plate  that  the  least  cutting  down  would  remove  it.  Impressions 
without  the  printer’s  name,  but  not  showing  the  plate-mark,  may, 
therefore,  be  of  this  state.  As  the  paper  is  torn  off  along  the  plate- 
mark  of  the  proof  owned  by  the  Bostonian  Society,  the  measure- 
ments given  above,  which  were  taken  from  this  proof,  may  not  be 
quite  correct.) 

1843.  71.  Monument  to  Dr.  Doane. 

An  obelisk,  with  a kneeling  figure  of  Faith  beside  an  anchor  in 
bas-relief  upon  it,  elevated  upon  a base  of  about  the  same  height,  bear- 
ing the  following  inscription  : Erected  | to  the  memory  of  | George  B. 
Doane,  M.  D.  | youngest  son  of  the  late  Isaiah  | and  Hannah  Bartlett 
Doane.  | lie  was  born  in  Boston,  | December  4.  1793.  | Deceased 
April  13.  1842,  | aged  49  years.  | As  a Son,  Brother,  Friend,  | Citi- 
zen, Physician,  | a model  for  imitation.  | Tlie  lament  of  the  poor  | 

pronounced  his  Flulogy.  | ••• | “And  in  the  wreck  of 

human  joy  | May  kneeling  P’aitli  adore  thy  will.”  The  monument 
is  shown  in  elevation,  against  a background  of  horizontal  ruled  lines, 
strengthened  somewhat  at  the  base  of  the  structure,  to  indicate  the 
ground.  Rectangle. 

Engraved  surface:  111  X 178  nun.  (4|  X !"•) 

Plate-mark  : 178  X 251  mm.  (7  X 9^'-) 


70 


ENGRAVINGS  AND  LITHOGRAPHS 


Published  in 

Memoir  of  George  B.  Doane,  M.  D.  No  date.  Without  lettering  in  the 
margin.  (See  No.  70,  No.  2 of  published  states.) 

Proofs. 

Finished.  (M.  F.  A.) 

[This  plate  has  not,  so  far,  been  reckoned  among  John  Cheney’s  work, 
nor  does  ic  add  anything  to  liis  fame,  being  almost  wholly  mechanical, 
and  so  far  as  it  is  not,  — in  the  little  figure  of  Faith,  — of  no  importance 
whatever.  But,  from  the  fact  that  the  original  design  for  the  monument 
(A.  Cary  del.),  together  with  a proof  from  the  plate,  was  found  among 
John  Cheney’s  papers,  it  may  well  be  assumed  that  he  engraved  it  out  of 
friendship  for  Dr.  Doane  and  his  family,  with  whom  he  was  intimate.  The 
design  is  in  the  possession  of  Mrs.  Ednah  D.  Cheney.  The  monument, 
erected  by  Dr.  Doane’s  sister,  stands  on  Yarrow  Path,  in  Mount  Auburn 
Cemetery.] 

1844.  72.  Beatrice. 

(fair  INEZ.) 

Half-length  of  a young  lady,  turned  towards  the  right,  but  the 
face  seen  nearly  full  front,  tlie  eyes  cast  down.  The  hair  is  arranged 
in  long  curls  on  both  sides  of  the  head.  She  wears  a barette  with  a 
long  white  feather  fa.stened  to  the  front,  a broad,  angular  wliite  collar, 
tied  in  front,  and  a cloak  over  the  right  shoulder.  Landscape  back- 
ground. Oval,  enclosed  in  a rectangle. 

Rectangle:  8S  X 108  inin.  (3y%  X H'b) 

Oval : 83  X 103  nun.  (3.}  X 
riate-maik  : 178  X 250  in  in.  (7  X 

Published  in 

1.  The  Gift,  1844,  the  frontispiece.  Underneath  : D.  Hunting- 

ton.  J.  Cheney.  | Beatrice.  | Printed  by  Butler  & Long. 

(See  “ List  of  Books,  etc.”) 

2.  Griswold,  The  Poets  anxl  Poetry  of  England,  1845,  opp.  p.  337.  Let- 

tered as  above,  with  the  exception  ‘of  the  title,  which  has  been 
changed  to  : Fair  Inez. 

3.  The  Gift,  for  1845,  but  without  date,  opp.  p.  113.  Lettered  as  under 

No.  2.  (See  “ List  of  Books,  etc.”) 


EXECUTED  BY  JOHN  CHENEY. 


71 


Proofs, 

1.  Unfinished  trial-proof.  Most  of  the  lines  laid  across  the  curls  in 
- later  states  are  as  yet  wanting.  (M.  F.  A.) 

2.  Still  unfinished,  hut  with  lines  across  the  curls.  (F.  W.  C.) 

3.  Finished,  but  before  all  lettering.  (E.  D.  C.) 

4.  ? With  artists’  names  only  ? (U.  S.,  M.  F.  A.,  Ph.,  G.  I doubt 

whether  this  state  really  exists.  All  the  proofs  enumerated,  with 
the  exception  of  the  one  in  the  Museum  of  Fine  Arts,  Boston,  show 
traces  of  the  title  : Beatrice,  which  was  wiped  out  on  the  plate  before 
printing.  It  is  cpiite  likely,  therefore,  that  the  proof  in  Boston  is  of 
the  same  kind,  with  tins  difference  merely  that  the  wnping-out  was 
more  successful.) 

[“  The  original,”  writes  Mr.  Huntington,  “ was  a painting,  a portrait  of 
Mary  Inman,  daughter  of  Henry  Inman,  afterwards  Mrs.  Coddington. 
The  original  belongs  to  Wni.  H.  Appleton,  of  New  York.  I painted  a replica 

for  Mr.  of  Phil.,  the  drapery  slightly  varied.  There  are  two  or  three 

copies  by  pupils.”  Mrs.  Ednah  D.  Cheney  has  a preparatory  outline  draw- 
ing for  this  engraving,  in  pencil  on  paper,  marked  off'  in  squares  in  red  ink. 
From  a copy  of,  or  draft  for  a bill  fur  four  plates  for  “ The  Gift,”  dated 
Dec.  30,  1843,  stiU  preserved  among  John  Cheney’s  papers  at  Manchester, 
Conn.,  it  appears  that  he  received  ^225  for  this  plate.] 

1844.  73.  Title  Vignette. 

Head,  neck,  and  part  of  the  shoulders  of  a girl,  turned  somewhat 
to  the  left,  the  eyes  looking  out  of  the  picture.  The  hair  falls  in  long 
curls  upon  the  shoulders  ; a rose  and  rosebud  in  the  hair,  on  the 
right  side  of  the  head.  Vignetted.  Circular  shading  around  the 
head. 

Extreme  limits  of  work  : 69  X 61  mm.  (2f  | X 2y^'.) 

Plate-mark  ; ? X ? 

Published  in 

The  Gift,  ISff,  on  the  engraved  title-page,  lettered  : The  Gift  | 1844  | 
(Vignette.)  | T.  Sully  J.  Cheney  | Philadelphia  | Carey  and 

Hart.  1 J.  Warr.  [ Printed  by  Butler  &;  Long.  (See  “ List  of  Books, 
etc.”) 

Proofs. 

1.  With  the  lettering  of  the  title-page,  but  without  the  artists’  names. 
(G.  It  is  possible  to  doubt  this  “ ])roof.”  The  lettering  has  evi- 
dently been  wiped  out  before  the  inq)iession  was  taken,  so  that  only 


ENGRAVINGS  AND  LITHOGRAPHS 


72 


faint  traces  of  it  are  visible.  The  artists’  names  may,  therefore, 
have  been  wiped  out  also.  There  is,  however,  not  the  slightest  trace 
of  them  to  be  detected  in  the  impression,  and  the  supposition  that 
they  had  not  yet  been  engraved  is  strengthened  by  two  faint  curved 
pencil  lines,  intended  to  show  where  the  engraver  was  to  place 
them.) 

2.  With  the  complete  lettering  of  the  title-page,  but  with  the  artists’ 
names,  with  : pinx,  after  : Sully,  in  a curved  line,  close  to  the 
vignette,  as  indicated  on  the  proof  No.  1.  On  the  plate  as  finally 
used,  these  names  have  been  removed,  and  re-engraved  in  a straight 
line,  somewhat  lower  down,  and  without  : pinx.  after : Sully. 
(E.  D.  C.) 

[From  the  bill  mentioned  under  No.  69,  it  appears  that  John  Cheney 
received  $125  for  this  plate.] 

1844.  74.  The  Fair  Student. 

(incognita.) 

Head,  neck,  bust,  and  part  of  the  riglit  lower  arm,  with  the  hand, 
of  a young  lady  reading  in  a large  book.  The  head,  slightly  sup- 
ported by  the  hand,  is  turned  to  the  left.  The  hair  is  gathered  loosely 
towards  the  back  of  the  head,  one  strand  falling  down  at  its  right 
side,  and  resting  on  the  tliumb  of  tlie  hand.  Drapery  about  the 
sliouldcrs,  fastened  on  the  left  shoulder  by  two  buttons.  Vignetted. 
Circular  shading  around  tlie  head. 

Extreme  limits  of  work  : 68  X 77  mm.  (2}-^  X 3j\^".) 
riate-mark  ; 155  X 231  mm.  (6-f^  X ^Y'-) 

Pahlished  in 

1.  The  Gift,  ISU,  opp.  p.  96.  Underueatli : S.  W.  Clieney  J. 

Cheney  sc.  | The  Fair  Student.  | Printed  by  Butler  & Long.  (See 
“ List  of  Books,  etc.”) 

2.  Griswold,  The  Poets  and  Poetry  of  England,  1845,  opp.  p.  78,  lettered 

as  above,  with  the  exception  of  the  title,  which  has  been  changed  to  ; 
Incognita. 

3.  The  Gift,  for  1845,  but  without  date,  opp.  p.  230,  with  the  lettering 

of  No.  2.  (See  “ List  of  Books,  etc.”) 

Proofs. 

1.  Before  all  lettering.  The  drapery  is  more  heavily  shaded  than  in  the 

later  states.  (Ph.,  H.,  F.  W.  C.) 

2.  With  only  the  artists’  names.  (U.  S.,  M.  F.  A.,  E.  D.  C.) 


EXECUTED  BY  JOHN  CHENEY. 


73 


[The  picture  is  a portrait  of  Mrs.  Horace  Gray,  nee  Sarah  Russell  Gard- 
ner, drawn  in  or  about  the  year  1842.  Communicated  hy  Mrs.  Ednah 
D.  Cheney.  — From  the  bill  mentioned  under  No.  09,  it  appears  that  the 
engraver  received  $125  for  this  plate. 

1844.  75.  Viola. 

Head,  neck,  shoulders,  and  left  hand  of  a girl,  the  head  turned 
slightly  to  right,  and  the  eyes  looking  in  the  same  direction.  The 
hair,  cut  rather  short,  is  combed  back  behind  the  ears.  The  hand 
holds  together  the  drapery  which  partly  veils  the  shoulders.  Vign- 
etted. Circular  shading  around  the  head. 

Extreme  limits  of  work  : 65  X 73  mm.  X 2§G) 

Plate-mark:  165  X 245  mm.  (6|X9fG) 

Published  in 

1.  The  Gift,  1844-,  ^PP-  P-  255.  Underneath  : S.  W.  Cheney  del.  J. 

Cheney  sc.  j Viola.  | Printed  by  Butler  & Long.  (See  “List  of 

Books,  etc.’’) 

2.  Grisivold,  The  Poets  and  Poetry  of  Emjland.  18^5,  opp.  p.  371.  Let- 

tered as  above. 

3.  The  Gift,  for  1845,  but  without  date,  opp.  p.  132.  Lettered  as  above. 

(See  “ List  of  Books,  etc.”) 


Proofs. 

1.  Before  all  lettering.  (E.  D.  C.) 

2.  With  artists’  names  only.  (M.  F.  A.,  Ph.) 

[Portrait  of  Miss  Hetty  S.  Appleton,  now  Mrs.  T.  Jefibrson  Coolidge,  of 
Boston,  who  owms  the  original  crayon.  Communicated  by  Mrs.  Ednah  D. 
Cheney. — From  the  bill  mentioned  under  No.  69,  it  a[)pears  that  tlie 
engraver  received  $125  for  this  plate.] 

1845.  76.  Agnes. 

(the  country  maiden.) 

Half-length  of  a young  lady,  standing,  bare-headed,  somewhat 
turned  to  riglit,  eyes  cast  down,  her  left  hand,  the  onl}’’  one  seen, 
resting  upon  the  head  of  a sheep,  d'lie  liair,  naturally  wavy,  is 
combed  back  smoothly  over  the  ears,  and  gathered  in  a knot  behind. 


74 


ENGRAVINGS  AND  LITHOGRAPHS 


A small  charm,  in  the  shape  of  a heart,  is  strung  on  a narrow  hand, 
which  hangs  around  the  neck.  Tlie  dress  is  fastened  in  front  by 
two  pairs  of  buttons.  Landscape  background.  Oval,  enclosed  in  a 
rectangle. 

Rectangle  : 85  X 107  mm. 

Ovail  ; 80  X 102  mm.  (3|-  X i".) 

Plate-mark:  167  X 238  mm.  (6]^X9f^A) 


Published  in 

1.  The  Gift,  18Jf5,  as  the  frontispiece.  Underneath  : W.  Page.  J. 

Cheney.  1 Agnes.  \ Printed  by  J.  M.  Butler.  (See  “ List  of  Books, 
etc.”) 

2.  The  Gift,  for  1845,  but  without  date,  as  the  frontispiece.  (As,  in  the 

only  copy  of  this  book  which  I liave  seen,  the  frontispiece  is  miss- 
ing, and  there  is  no  list  of  illustrations,  — this  probably  purposely 
omitted,  — it  is  impossible  to  give  the  lettering,  but  it  is  presumably 
as  under  No.  1.  — See  “ List  of  Books,  etc.”) 

3.  Griswold,  The  Feinale  Poets  of  America,  18Jf),  opp.  p.  192,  Lettered 

as  above,  with  the  exception  of  the  title,  which  has  been  changed 
to  : The  Country  Maiden. 


Proofs. 

. 1.  Unfinished,  without  dots  in  the  lozenges  formed  by  the  lines  in  the 
dress.  (G.) 

2.  Unhnislied,  but  with  very  light  dots  in  these  lozenges.  (M.  F.  A.) 

3.  Still  unfinished,  but  considerably  advanced.  The  lines  of  junction  of 

the  oval  and  rectangle  not  yet  trimmed.  (M.  F.  A.) 

4.  Finished,  but  before  all  lettering.  (M.  F.  A.) 

5 ? With  artists’  names  only '?  (I  doubt  the  existence  of  this  state.  An 
impression  in  Mrs.  Ednali  D.  Cheney’s  possession,  which  at  first 
sight  seems  to  be  with  artists’  names  only,  shows  distinct  traces  of 
the  printer’s  address.) 

6.  With  lettering  of  No.  1 of  published  states.  (Ph.) 

[The  picture  is  a portrait  of  a Miss  Knower,  a sister  of  Mrs.  Governor 
Marcy  and  of  Miss  Jane  Knower,  whom  Mr.  Page  knew  in  Albany  in  his 
young  days,  and  in  New  York,  and  later  in  Rome.  It  was  one  of  his  early 
daring  attempts  at  a light  background,  which  culminated  in  the  Venus. 
Communicated  by  il/rs.  Ednah  D.  Cheney,  from  a letter  by  Mrs.  Sophia  C. 
Page.] 


EXECUTED  BY  JOHN  CHENEY, 


75 


1845. 


77.  Title  Vignette. 


Head  and  neck  of  a lady,  wearing  a turban,  turned  to  the  left,  the 
eyes  looking  at  the  spectator.  The  hair  is  in  loose  curls,  around  the 
neck  is  a frill.  Vignetted.  Surrounded  by  circular  shading. 

Extreme  limits  of  work  : 61  X 58  mm.  (2f  X ■) 

Plate-mark  : 168  X 254  mm.  (6|  X 10'^) 


1.  The  Gift,  18Jf5,  on  engraved  title-page,  lettered  : The  Gift  | 1845  | 

(Vignette.)  | Philadelphia  | Carey  and  Hart.  | J.  Warr.  | Printed  by 
J.  M.  Butler.  (See  “ List  of  Books,  etc.”) 

2.  The  Gift,  18Jf5,  on  engraved  title-page,  lettered  as  above,  but  with  the 

names  of  the  artists:  G.  Stuart  — J.  Cheney.  | , added  under  the 
vignette.  (See  “ List  of  Books,  etc.”) 

3.  Grisivold,  The  Female  Poets  of  America,  18^9,  on  the  engraved  title- 

page,  lettered  : The  | Female  Poets  j of  | America  | By  Rufus 
Willmot  Griswold.  | (Vignette.)  | G.  Stuart  — J.  Cheney.  [ Phila- 
delphia I Carey  and  Hart.  | J,  Warr.  | Printed  by  J.  M.  Butler. 


1.  Before  all  lettering.  (Ph.,  E.  D.  C.) 

2.  Finished,  with  lettering  of  No.  2 of  published  states.  (H.) 

[The  picture  is  a portrait  of  Mrs.  Samuel  Blodgett.  The  original  is  in 
the  Carey  Collection,  Penns.  Academy  of  the  Fine  Arts,  A 59.  “ A noted 

beauty,”  says  the  catalogue  of  the  Loan  Exhibition  of  Historical  Portraits, 
held  at  the  Penns.  Academy  of  the  Fine  Arts,  Philadelphia,  from  Dec.  1, 
1887,  to  Jan.  15,  1888,  “ born  April  11,  1772  — Rebecca,  daughter  of 
Win.  Smith,  first  provost  of  the  University  of  Pennsylvania.  . . . Married 
Samuel  Blodgett,  Jr.,  of  Washington,  May  10,  1792.  Died  May  9,  1837.”] 


Head,  neck,  and  part  of  the  bust  of  a young  woman,  tlie  face  seen 
full  front,  looking  at  tlie  sjiectator,  the  head  very  slightly  inclined  to 
tlie  left.  The  hair  cut  short,  wavy,  the  shoulders  covered  by  drapery. 
Vignetted.  Circular  sliading  around  the  licad. 

Extreme  limits  of  work  : 67  X 72  mm.  (2g  X 21".} 

Plate-mark  ; 163  X 250  mm.  (6  j7(-  X 0|'b) 


Published  in 


Proofs. 


1845. 


78.  Annette. 


76 


ENGRAVINGS  AND  LITHOGRAPHS 


Publislied  in 

1,  The  Gift,  18 f5,  opp.  p,  125.  Underneatli:  Malbone  del.  J. 

Cheney  Sc.  | Annette,  j Printed  by  J.  M.  Butler  | . (See  “ List  of 

Books,  etc.”) 

2.  The  Gift,  for  1845,  but  without  date,  as  above.  (See  “List  of 

Books,  etc.”) 

Proofs. 

1.  Not  quite  finished  in  the  background  and  the  drapery,  and  on  the 

bosom.  (M.  F.  A.,  Ph.,  G.,  E.  B.  C.) 

2.  Finislied,  but  with  the  artists’  names  only.  (Ph.) 

[The  unfinished  trial  proof  in  the  Phillips  Collection  is  marked  in  pencil: 
Mrs.  Bleeker  [sic!].  It  is  known  that  the  “Egeria,”  No.  66  of  this 
catalogue,  is  a portrait  of  Mrs.  Bleecker,  and  at  first  sight  it  would  seem 
impossible  that  the  two  sliould  represent  the  same  jierson.  Nevertheless, 
there  is  a similarity  in  the  character  of  the  features,  as  well  as  in  the  way 
of  wearing  the  liair,  and  in  the  dress.  Considering  the  great  difference  often 
observable  between  front  view  and  profile,  it  is,  after  all,  not  quite  impos- 
sible that  the  two  portraits  may  both  represent  Mrs.  Bleecker.] 

1845.  79.  The  Roman  Girl. 

(the  handmaid.) 

Three-quarter  length  of  a Boman  peasant  girl,  walking  towards  the 
left,  but  the  face  and  eyes  turned  towards  the  spectator.  With  the 
right  hand  she  supports  a vase  which  she  carries  upon  her  head,  with 
the  left,  raised  to  the  bosom,  she  holds  a scarf  which  hangs  down  from 
the  left  shoulder.  Background  a view  of  the  Cainpagna,  with  a square 
tower  with  two  windows  in  it  in  the  lower  right  hand  corner.  As  the 
horizon  is  taken  very  low,  nearly  the  Avhole  of  the  background  is  sky. 
Rectangle. 

Engi’aved  surface  : 84  X 107  mm.  (3j\  X 

Plate-mark : 171  X 252  mm.  (6|  X Oyt''.) 

Published  in 

1.  The  Gift,  1845,  opp.  p.  212.  Underneath:  D.  Huntington.  J. 

Cheney.  | The  Roman  Girl,  j Printed  by  J.  M.  Butler  | . (See  “List 

of  Books,  etc.”) 

2.  The  Gift,  for  1845,  but  without  date,  as  above.  (See  “ List  of  Books, 

etc.”) 


EXECUTED  BY  JOHN  CHENEY. 


77 


3.  Grisivold,  The  Female  Poets  of  America,  1849,  opp.  p.  372.  Lettered 
as  above,  with  the  exception  of  the  title,  which  has  been  changed  to  : 
The  Handmaid. 

Proofs. 

1.  Before  all  lettering,  (Ph.,  F.  W.  C.) 

2 ? With  artists’  names  only  ? (Mrs.  Electa  W.  Goodman  has  two 
proofs  apparently  in  this  state.  As  one  of  them,  however,  shows 
traces  of  the  title,  which  has  been  wiped  out  on  the  plate  before 
printing,  it  throws  a donbt  also  upon  the  other,  and  it  is  questionable, 
therefore,  whether  this  state  really  exists.) 

3.  With  lettering  of  No.  1 of  published  states.  (Ph.) 

[’‘  The  Boman  Girl  is  a cabinet  picture  about  10  X 12  in!  & was  painted 
in  Rome  in  1844  (from  a favorite  Roman  model,  Mariuccia)  and  was  sent  to 
Abr”  M.  Cozzens,  an  intimate  friend  of  mine  & of  Edw*^  Carey.  ]\Ir.  Coz- 
zens  was  a devoted  lover  of  art  & a generous  friend  of  our  artists.  He 
wanted  to  buy  the  picture,  but  I had  given  it  to  my  wife,  who  still  has  it.”  — 
From  a letter  from  Mr.  Huntington. 


1845.  80.  Preciosa. 

Three-quarter  length  of  a young  woman,  seated,  turned  towards  the 
right,  the  head  in  profile,  the  hair,  undone,  hanging  down  over  the 
back.  With  the  right  hand,  the  only  one  seen,  she  bolds  upon  her 
lap  a book,  the  contents  of  which  she  seems  to  be  pondering.  On  her 
bosom  is  a small  cross.  A shawl  is  thrown  over  her  left  shoulder  and 
right  arm.  To  the  left  the  back  of  the  chair  is  visible.  About  three 
quarters  of  the  background  are  closed  up  by  a wall,  the  rest,  to  the 
right,  affords  an  outlook  upon  a landscape  Avith  an  evening  effect. 
Rectangle. 

Engraved  .surface  : 102  X 128  mm.  (4^-  N 5".) 

Plate-mark  : 178  X 280  mm.  (7  X ll'C) 

Published  in 

Poems  hy  Henry  JVadsworth  Longfellow,  I84H,  as  the  frontispiece.  Under- 
neath : D.  Huntington.  J.  Cheney.  | Preciosa.  (See  “ List  of 
Books,  etc.”) 

Proofs. 

1.  Early  trial  proof,  the  flesh  only  laid  in.  (Ph.) 

2.  Later,  hut  still  unfinished.  (Pb-) 


ENGRAVINGS  AND  LITHOGRAPHS 


3.  Finished,  hut  before  all  lettering.  (G.,  E.  D.  C.) 

4.  With  artists’  names  only.  (Ph.) 

5.  With  the  completed  lettering.  (Ph.) 

The  sketches  for  the  ^ Longfellow  Poems’  were  all  painted,  of  small  size, 
on  an  order  from  Edw?  Carey  & were  executed  while  I was  travelling  from 
Paris  to  Italy  in  1843  or  4.  They  were  all  sent  to  Phil,  as  soon  as  they 
were  painted,  — size  about  8X10  in.  They  were  mostly  in  faint  colors, 
but  some  in  light  and  dark  only.  I have  not  seen  or  heard  of  them  since 
the  publication  of  the  volume.”  — From  a letter  from  Mr.  Huntington.^ 

1845.  81.  Henry  W.  Longfellow. 

Head,  neck,  and  part  of  the  bust  of  a young  gentleman,  in  rather 
more  than  tliree-quarter  view,  turned  to  the  left.  Liglited  from  the  right. 
He  wears  a dark  stock,  over  which  is  seen  a narrow  standing  collar. 
Vignetted.  Circular  shading  around  the  head,  partly  composed  of  a 
tint  ruled  in  a liorizontal  direction.  In  most  impressions  this  ruled 
tint  is  so  faint  that  it  is  difficult  to  fix  the  measurements. 

Extreme  limits  of  the  work  : 76  X 87  mm.  (3  X 3^".) 
riate-maik  : 180  X 270  mm.  (7jV  X lO'}"-) 

Published  in 

Poems  hj  Henry  IVadsworth  Longfellow,  lSJf5,  opp.  p.  13.  Underneath 
the  fac-simileof  the  signature  : Henry  W.  Longfellow  1 . (See  “ List 
of  Books,  etc.”) 

Proofs, 

1.  Before  the  signature.  (iM.  F.  A.,  Ph.,  G.,  E.  D.  C.) 

2.  With  the  signature.  (H.  F.  A.,  H.) 

[According  to  the  “ List  of  the  Illustrations”  this  plate  was  “ engraved 
from  a drawing  by  S.  W.  Cheney.”  The  fact  that  it  was  engraved  by 
J.  Cheney  is  not  alluded  to.] 

1845.  82,  Maidenhood. 

Three-quarter  length  of  a maiden,  standing,  fronting  the  spectator, 
the  head  inclined  towards  the  left,  the  eyes  cast  down.  With  the  left 
arm  she  leans  upon  a rock,  the  right  hangs  down.  The  hair  is  gath- 
ered in  braids  towards  tlie  back,  a narrow  band  is  laid  across  the  crown 


EXECUTED  BY  JOHN  CHEXEY. 


79 


of  the  head.  On  her  bosom  is  suspended  a small  cross.  Over  her  dress 
she  wears  a sort  of  tunic,  which  passes  over  the  left  shoulder  and  right 
thigh.  Over  the  rock  on  the  right  are  seen  bushes.  In  the  lower  left- 
hand  corner  a glimpse  of  landscape  with  a stream.  The  rest  of  the 
background  is  sky.  Eectangle. 

Engraved  surface  : 104  X 124  mm.  (4|-X4|-".) 

Plate-mark  : 177  X 255  mm.  (6lf  X 10 

Published  in 

1.  Poems  by  Henry  JFadsivorth  Longfelloiv,  I84S,  opp.  p.  73.  Underneath  : 

-D.  Huntington.  J.  Cheney  & J.  I.  Pease.  | Maidenhood.  (See 

“ List  of  Books,  etc.”) 

2.  Campbell,  Specimens  of  the  British  Poets,  1853,  as  the  frontispiece. 

Lettered  as  above. 

Proofs. 

1.  Etching  proof  of  the  sky,  background,  and  drapery  only.  Head  and 

hands  merely  outlined  in  dots.  (K.) 

2.  Pure  etching,  or  with  but  little  graver  work.  (Ph.,  H.  As  Mr.  Hart’s 

proof  was  given  to  him  by  Mr.  Pease,  this  state  probably  represents 

the  condition  in  which  he  left  it.) 

3.  Before  all  lettering.  (Ph.,  E.  D.  C.) 

4.  With  artists’  names  only  (Ph.) 

5.  With  full  lettering.  (H.) 

[Concerning  the  original,  see  No.  80.] 


1846.  83.  Daniel  Webster. 

Half-length  portrait  of  a gentleman  of  mature  years,  turned  towards 
the  right,  eyes  looking  straiglit  out  of  the  picture.  Lighted  from  the  left. 
High-collared  coat ; wliite  neckcloth  tied  into  a knot,  the  ends  returned 
backward  under  the  waistcoat,  the  shirt-collar  turned  down  over  it. 
Simple  gradated  background,  consisting  of  straiglit  horizontal  and  wavy 
perpendicular  lines  crossing  one  another.  Hectangle. 

Engraved  surface  ; 102  X 134  mm.  (4  X 6^'-) 

Plate-mark  : 240  X 318  mm.  (9f  X 12^^) 


Published  in 

1.  The  American  Jfliiy  Review,  1845,  as  the  frontispiece.  Underneath  : 
Painted  by  R.  M.  Staigg.  Lug.  by  J.  Cheney  & R.  W.  Dodson. 


80 


ENGRAVINGS  AND  LITHOGRAPHS 


I Daniel  Webster  | . (The  name  in  outlined  Roman  capitals.  Prob- 
ably printed  from  the  plate  as  described  under  “ Proofs.  1,”  but  as 
the  paper  is  smaller,  the  copyright  inscription  does  not  show.) 

2.  The  Diplomatic  and  Official  Fapers  of  Daniel  IFthster,  as  the 

frontispiece.  Underneath  : Painted  by  R.  M.  Staigg.  Eng. 

by  J.  Cheney  & R.  W.  Dodson.  ] Daif  Webster  | Printed  and  Pub- 
lished by  R.  Andrews,  116  Washington  St.  Boston.  (The  name  fac- 
simile of  signature.  As  the  copyright  still  shows  in  the  third 
published  state,  it  must  have  been  on  the  plate  also  in  this  state. 
But  again  it  did  not  show,  owing  to  small  size  of  paper.) 

3.  Grains  Elegy  written  in  a Conntry  Church-Yard,  Boston,  no  date.  Let- 

tered as  above,  and  in  addition  : Entered  according  to  Act  of  Congress 
in  the  year  1846,  by  R.  M.  Staigg,  in  the  Clerks  Office  of  the  District 
Court  of  Mass.  (See  “ List  of  Books,  etc.”) 

4.  The  plate  is  in  the  possession  of  J.  C.  Buttre,  New  York,  who  pub- 

lishes impressions  for  sale,  lettered  simply  with  the  artists’  names 
and  the  signature  in  fac-simile. 

Proofs. 

1.  Before  any  lettering.  (M.  F.  A.,  E.  D.  C.  On  Mrs.  Cheney’s  proof 

is  written  in  pencil:  Daniel  AVebster  | Engraved  by  J.  Cheney  & 
R.  W.  Dodson  from  the  original  Pictuie  of  the  same  size  by 
R.  M.  Staigg  I .) 

2.  AVith  the  lettering  just  described  engraved  on  the  plate.  (H.,  G.  The 

only  proofs  in  this  state  which  1 have  seen  have  been  converted  into 
false  proofs  before  lettering,  by  wiping  the  latter  out  on  the  plate, 
leaving  it,  however,  still  visible.  The  second  line  was  removed 
before  the  [)late  was  actually  })ublished.) 

3.  Lettered  underneath:  Painted  by  R.  1\I.  Staigg.  Eng.  by 

J.  Ciieney  & R.  AA".  Dodson.  | Daniel  AA'ebster  [ Entered  according 
to  Act  of  Congress  in  the  year  1846,  by  B.  M.  Staigg,  in  the  Clerks 
Office  of  the  District  Court  of  Alass,  (The  name  in  outlined  Roman 
capitals,  the  same  as  in  the  preceding  state.  From  the  plate  in  this 
state  proofs  were  published  for  sale.  There  are  false  proofs  extant, 
apparently  only  with  the  artists’  names  and  the  copyright  inscription, 
the  name  having  been  wiped  out  on  the  plate.  Traces  of  it  are,  how- 
ever, still  visible.) 

[The  original  miniature,  still  in  the  possession  of  Mrs.  R.  AI.  Staigg,  was 
shown  at  the  speci.al  exhibition  of  Air.  Staigg’s  works,  held  after  his  death, 
from  Dec.  5 to  17,  1881,  by  the  Boston  Art  Club,  It  was  painted  at  AA’’ash- 
ington  in  1844.  A copy,  made  by  Air.  Staigg  two  years  later,  is  in  the  cab- 
inet of  the  Alassachusetts  Historical  Society,  Boston.  This  was  formerly 


EXECUTED  BY  JOHN  CHENEY. 


81 


the  property  of  Mr.  Isaac  P.  Davis,  and  was  presented  to  the  society  by 
his  widow  June  4,  1866.  While,  however,  the  original  and  the  engraving 
are  rectangular,  this  miniature  is  elliptical,  or  is,  at  least,  framed  in  an 
elliptical  mat.] 

1846.  84.  Miss  E.  Leslie. 

Three-quarter  length  of  a lady,  seated,  fronting  the  spectator,  the 
head  slightly  turned  to  right.  She  wears  a boimet,  trimmed  with 
flowers,  the  ribbons  tied  under  the  chin,  a lace  kerchief,  a dress 
trimmed  with  two  rows  of  large  buttons,  one  on  each  side  of  the 
bosom,  and  over  the  dress  a wrapper  which  has  fallen  back  from 
the  shoulders.  With  both  hands  she  supports  upon  her  lap  a port- 
folio labelled  : Sketches.  Back  of  the  figure,  in  the  right-hand 
lower  corner,  is  seen  what  may  be  part  of  a seat.  Simple  gradated 
background,  consisting  of  horizontal  and  perpendicular  lines  crossing 
one  another.  Bectangle. 

Engraved  surface  : 90  X 115  mm.  (3|  X 
Plate-mark  : 178  X 251  mm.  (7  X 9f|". ) 

Published  in 

Godeifs  Lach/s  Booh,  18^6,  in  the  January  number,  opp.  p.  IV.  Under- 
neath : Miss  E.  Leslie. 

Proofs. 

1.  Before  the  title.  (Ph.,  E.  D.  C.) 

2.  With  the  title.  (H.) 

[The  original,  by  Thomas  Sully,  is  in  the  Penns.  Academy  of  the  Fine 
Arts,  Philadelphia,  A 214.  It  is  a portrait  of  the  sister  of  Charles  Bobert 
Leslie,  the  painter,  born  in  Philadelphia,  and  well  known  as  an  authoress.] 


1847.  85.  Title  Vignette. 

Head,  neck,  shoulders,  and  left  hand  of  a young  woman,  turned 
slightly  to  the  left,  the  liead  somewhat  lowered,  the  eyes  looking  out 
of  the  picture.  Tlie  head  is  enveloped  in  a veil,  held  togetlier  by  tlu' 
hand.  Vignetted.  Circular  shading  around  the  head. 

Extreme  limits  of  work  : 71  X 79  mtii.  (2|  X 
Plate-mark  : ? X ? 


0 


82 


ENGRAVINGS  AND  LITHOGRAPHS 


Published  in 

Poems  hy  William  Cullen  Bryant,  184-7,  on  the  engraved  title-page,  with 
the  following  lettering  : Poems  | hy  | William  Cullen  Bryant.  \ 
(Vignette).  [ E.  Leutze.  [Separated  by  the  arm  from]  J.  Cheney.  | 

“ Oh  ! I would  chide  thee  sharply  — hut  every  maiden  knows  | That 
she  who  chides  her  lover,  forgives  him  ere  he  goes.”  | Fatima  and 
Raduan  — Page  238.  | Philadelphia  ] Carey  and  Hart.  [ J.  Warr. 
(See  “ List  of  Books,  etc.”) 


Proofs. 

Before  all  lettering.  (M.  F.  A.,  K.) 

[In  Mr.  Charles  Henry  Hart’s  collection  there  is  a false  proof,  apparently 
with  the  artists’  names  only,  produced  by  covering  up  the  rest  of  the  let- 
tering with  a piece  of  paper  before  the  impression  was  pulled.] 

1847.  86.  William  Cullen  Bryant. 

Head,  neck,  and  part  of  the  shoulders  of  a gentleman  in  the  prime 
of  life,  the  body  fronting  the  spectator,  the  head  turned  and  the  eyes 
looking  towards  the  left.  Lighted  from  the  right.  He  wears  a dark 
stock,  with  collar  turned  down  over  it.  Vignetted,  with  a faint  back- 
ground of  horizontal  ruled  lines. 

Extreme  limits  of  the  portrait  without  the  backgi’ound  : 57  X 65  mm. 

/*>  3 V o \ 

v-iiT  -1^  • I 

Plate-mark  : 178  X 251  mm.  (7  X ) 

Published  in 

Poems  hy  William  Cullen  Bryant,  1847',  opp.  p.  17.  Llndemeath  the 
fac-simile  of  the  signature  : William  Cullen  Bryant.  (vSee  “ List 
of  Books,  etc.”) 

Proofs. 

With  the  signature.  (H.) 

[According  to  the  “List  of  the  Illustrations,”  this  plate  was  “engraved 
by  J.  Cheney  from  a drawing  by  S.  W.  Cheney.”] 

1847.  87.  Fitz-Greene  Halleck. 

Head,  neck,  and  bust  of  a gentleman  in  middle  life,  tunied  slightly 
to  the  left,  the  eyes  looking  in  the  same  direction.  Lighted  from  the 


EXECUTED  BY  JOHN  CHENEY. 


83 


right.  Standing  collar,  black  cravat,  plain  shirt  front,  coat  not  hut- 
toned,  waistcoat  cut  rather  low.  Vignetted.  Background  of  shading, 
irregularly  elliptic. 

Extreme  limits  of  work  : 85  X 100  mm.  (3jg  X 

Plate-mark  : 185  X 275  mm.  (T^X  lO-ff.'O 

Published  in 

1.  The  Poetical  TVorJcs  of  Fitz-Greene  Hallech,  18Jf7,  opp.  p.  9.  Under- 

neath : C.  L.  Elliott  J.  Cheney  | Yours  truly,  | FitZ“.Greene 

Halleck  | . (The  last  two  lines  are  in  fac-sirnile  of  handwriting,  with 

a stroke  under  the  name.  — See  “ List  of  Books,  etc.”) 

2.  The  plate,  in  the  state  just  described,  is  in  the  possession  of  J.  C. 

Buttre,  New  York,  who  publishes  impressions  for  sale. 

Proofs. 

1.  The  head  fairly  advanced,  the  rest  only  laid  in.  (G.) 

2.  Considerable  additional  work  on  the  head,  as  w^ell  as  on  the  coat  and 

waistcoat.  (F.  W.  C.) 

3.  The  shading  in  the  background,  on  the  lower  left,  deepened  by  diag- 

onal lines  laid  over  the  horizontal  lines  previously  etched  there. 
(G.,  F.  W.  C.) 

4.  Pdnished,  but  before  all  lettering.  (M.  F.  A.,  G.) 

5.  With  the  lettering.  (M.  F.  A.,  H.,  G.) 

1847?  88.  Joshua  Bates. 

Three-quarter  length  of  a gentleman  in  the  full  vigor  of  life,  stand- 
ing, very  slightly  turned  towards  the  right,  eyes  looking  straight  out  of 
the  picture.  Lighted  from  the  left.  He  wears  a white  neckcloth  tied 
into  a bow,  over  wliich  appears  a standing  collar,  a figured  waistcoat, 
and  a high-collared  coat,  buttoned  by  the  two  lower  buttons.  His 
left  hand  grasps  the  lapel  of  the  coat  somewhat  above  the  waist,  Avitli 
the  right  he  supports  himself  on  a table,  part  of  whicli  is  seen  in  the 
lower  left  corner,  with  two  books  upon  it  wliich  also  are  only  partially 
seen.  In  the  background  two  columns  (of  the  one  on  the  left  only  a 
small  part  is  seen  above),  with  a curtain  draped  diagonally  across  the 
picture.  dV  the  right,  over  what  seems  to  be  a parapet,  and  in  the 
left  upper  corner,  glimpses  of  trees  and  sky.  llectangle. 

Engraved  surface  : 1 H X 137  mm.  ( G X 5-^".) 

riate-mark  : 178  X255  mm.  (7  X 10.") 


84 


ENGKAVINGS  AND  LITHOGRAPHS 


Proofs. 

1.  Before  all  lettering.  (M.  F.  A , E.  D.  C.) 

2.  Underneath  ; Painted  by  W.  E.  West  Engraved  by  J.  Cheney  | 

Joshua  Bates  [ . The  name  is  a fac-simile  of  the  signature,  with  a 
stroke  attached  to  it.  (M.  E.  A.,  H.,  E.  D.  C.,  and  others.) 

[This  portrait  of  the  well-known  patron  of  the  Public  Library,  Boston, 
for  whom  Bates  Hall  was  named,  seems  to  have  been  engraved  as  a private 
plate,  never  regularly  published.  It  has  been  assigned  to  about  1847,  be- 
cause similar  portrait  work  belongs  to  the  same  period.] 


1848.  89.  W.  E.  Channing. 

(after  allston.) 

Head,  neck,  and  shoulders  of  a gentleman  in  the  prime  of  life,  facing 
and  looking  straight  at  tlie  spectator.  Lighted  front  the  left.  He 
wears  a high-collared  coat,  apparently  buttoned,  over  a waistcoat  of 
clerical  cut,  which  allows  only  the  upper  part  of  the  white  necktie  to 
be  seen.  Vignetted.  Background  of  circular  shading. 

Extreme  limits  of  work  ; 74  X 81  mm.  (2^f  X 3^".) 

Plate-mark  : 177  X 259  mm.  (6l|  X ) 

Published  in 

Memoir  of  William  Ellery  Channing,  18Jf8,  Vol.  I,  as  the  frontispiece. 
Underneath  ; W E Channiiig'^  ] Engraved  by  J.  Cheney  from  a 
portrait  by  Washington  Allston,  painted  in  1811.  (The  name  is 
in  fac-simile  of  a signature.  — See  “ List  of  Books,  etc.”) 

Proofs. 

1.  Before  all  lettering.  (U.  S.,  M.  F.  A.,  H.,  G.,  F.  W.  C.)  There 

are  false  proofs  of  apparently  this  state,  with  the  lettering  wiped 
out  on  the  plate. 

2.  With  only  the  artists’  names  : W.  Allston  pt.  J.  Cheney  Sc. 

(E.  W.  C.) 

1848.  90.  Wm.  E.  Channing. 

(after  gambardella.) 

Head,  neck,  and  shoulders  of  a gentleman  in  mature  years,  facing 
and  looking  straight  at  the  spectator.  Lighted  from  the  right.  He 


EXECO’ED  BY  JOHN  CHENEY. 


85 


wears  a high-collared  coat,  apparently  imhuttoiied,  over  a clerical  waist- 
coat, so  cut  as  to  allow  the  long  ends  of  the  white  necktie,  which  are 
tucked  into  it,  to  be  seen.  Above  the  necktie  appears  a standing  collar. 
Visrnetted.  Oval  backoTOund  of  shadiiifr. 

o o o 

Extreme  limits  of  work  : 70  X 79  mm.  (2|  X ) 

Plate-mark  ; ? X ? 

Published  in 

Memoir  of  Tniliam  Ellerij  Chaiviing,  ISJ^S,  Vol.  IT,  as  the  frontispiece. 
Underneath  : W”  E Channing  | Engraved  by  D.  Kimberly  A J. 
Cheney  from  a portrait  by  S.  Gambardella,  painted  in  1839.  (The 
name  in  fac-simile  of  signature. — See  ‘‘List  of  Books,  etc.”) 


Proofs. 

1.  Before  all  lettering.  (H.  There  are  htlse  proofs,  apparently  of  this 

state,  with  the  lettering  wiped  out  on  the  plate.  Mrs,  Ednah  D. 

Cheney  has  such  a proof.) 

2.  With  the  lettering.  (M.  F.  A.) 

1848.  91.  P.  T.  Jackson. 

Half-length  of  a gentleman  of  mature  years,  seated  in  an  upholstered 
chair,  the  back  of  which  is  partly  visible  on  the  right.  Turned  towards 
the  left,  but  the  eyes  looking  straight  out  of  the  picture.  Lighted 
from  the  right.  He  wears  a broad  black  stock,  with  the  collar  turned 
over  it,  a straight-cut  waistcoat  buttoned  rather  high  up,  and  a coat 
with  a velvet  or  ribbed  silk  collar.  Simple  gradated  background, 
composed  of  wavy  horizontal  and  perpendicular  lines,  crossing  oue 
another.  Bectangle. 

Engraved  surface  : 105  X 12G  mm.  ( X lH''  ) 

Plate-mark  : 228  X 290  mm.  X 

Published  in 

1.  The  Merchants^  Magazine,  ISJfS,  Vol.  XVITT,  fron{is])icce  to  April 

number,  o])]).  ]>.  oof).  UmleriuMtli  : P.  T.  .lackson  | . (Fac-simile 

of  signature,  as  also  in  the  following  states.) 

2.  Lowell,  Memoir  of  Patrick  Tracy  Jackfion,  ISJfS,  as  the  frontispiece. 

Underneath  : P.  'V.  .lackson  | , 

3.  Hunt,  Lives  of  A mrrlcan  Merchants,  7<SVo’,  Vol.  I,  op]u  p.  .555.  Under- 

neath : G.  P.  A.  Healy.  .1.  Cheney.  | P.  d'.  .lackson  ] . 


86 


ENGRAVINGS  AND  LITHOGRAPHS 


Proofs. 

1.  Early  trial-proof,  the  head  just  begun.  (M.  F.  A.) 

2.  Finished  and  with  the  signature,  (M.  F.  A.,  G.) 

3.  With  artists'  names  and  signature,  (E.  D.  C.) 

[Patrick  Tracy  Jackson,  born  Aug.  14,  1780,  at  Newburyport,  Mass.,  fol- 
lowed the  sea  in  early  life,  and  was  afterwards  interested  in  manufacturing 
and  railroad  building  He  died  Sept.  12,  1847,  at  Beverly,  Mass.] 

1848.  92.  N.  P.  Willis, 

Head,  neck,  and  part  of  the  bust  of  a young  gentleman,  turned 
towards  the  left,  the  eyes  looking  straight  out  of  the,  picture.  Lighted 
from  the  right.  Hair  rather  long,  with  one  lock  of  it  hanging  down 
over  the  middle  of  the  forehead.  He  wears  a coat  with  a high  and 
very  broad  collar;  above  his  neckcloth  is  seen  a narrow  standing  collar. 
A flat  ruled  tint,  in  which  the  high  lights  are  picked  out,  is  laid  over 
the  whole.  Rectangle. 

Engraved  surface  : 90  X 111  mm.  (3j\  X 4-|", ) 

Plate-mark : 175  X 253  mm.  (G|  X 9f|‘''.) 


Published  in 

Willis,  Poems  of  Early  and  After  Years,  18JfS,  opp,  p.  12.  Underneath  ; 
S.  Lawrence.  1837-  J.  Cheney.  | N.  P.  Willis.  | Printed  by 

J.  M.  Butler.  (The  name  in  fac-simile  of  signature.) 

Proofs. 

Before  all  lettering.  (K,,  G,,  E.  D.  C.) 

[See  letter  No.  VII  in  the  Appendix.] 

1849.  93.  Lydia  H.  Sigourney. 

Half-length  portrait  of  a lady  with  curls,  tlie  back  hair  in  a solid 
mass  on  the  crown  of  the  head,  the  head  turned  somewhat  to  the 
right.  Lighted  from  the  left.  She  wears  a broad  lace-collar,  and  a 
shawl,  only  slightly  indicated,  which  falls  away  from  the  shoulders. 
A flat  ruled  tint,  in  wliicli  the  high  lights  are  picked  out,  is  laid  over 
the  drapery,  and  forms  the  background.  Rectangle. 

Engraved  surface  : 87  X 111  mm.  X 4|"  ) 

Plate-mark  : ? X ? 


EXECUTED  BY  JOHN  CHENEY, 


87 


Published  in 

Illustrated  Poems  hij  Ilrs.  L.  H.  Sigourney,  I84O,  opp.  p.  17.  Uiiderneatli  : 
G.  Freeman.  J.  Cheney  & AV.  G.  Armstrong.  | Lydia  H. 

Sigourney  | . (Name  in  fac-simile  of  signature.) 

Proofs. 

Before  all  lettering.  (Ph.,  E.  D.  C.) 

Fraudulent  Copy. 

In  a “New  Edition”  of  the  above  book,  published  in  1854,  an  inferior 
copy  of  the  portrait  serves  as  the  frontispiece.  It  has  the  title  (sig- 
nature), but  is  without  artists’  names.  An  engraver’s  name  seems 
to  have  been  given  underneath  to  right,  but  it  has  been  removed. 
In  the  “ List  of  Illustrations  ” the  statement  is  retained  that  it  is  “ En- 
graved by  Cheney  and  Armstrong  from  a miniature  by  P’reemau.” 

[In  an  edition  of  Mrs.  Sigourney’s  poems  published  in  London  in  1850, 
there  is  a smaller  and  inferior  rendering  of  the  same  design  in  the  same 
style.] 

1850.  94.  Frances  Sargent  Osgood. 

Head,  neck,  and  bust  of  a lady  in  early  life,  fronting  the  spectator. 
The  head  is  somewhat  inclined  to  the  right,  the  eyes  look  straight  out 
of  the  picture.  Lighted  from  the  left.  The  liair  nearly  covers  the 
ears,  and  is  disposed  in  a braid  on  the  crown  of  the  head.  Low- 
necked,  short-sleeved  dress,  the  sleeve  on  the  left  arm  gathered  to- 
gether by  a clasp  formed  of  a cameo.  A machine-ruled  tint  of 
perpendicular  lines,  in  wliich  the  high  liglits  are  inched  out,  is  laid 
over  the  whole.  A second  tint,  of  horizontal  lines,  is  laid  over  the 
background  and  tlie  drapery.  Eectangle. 

Engraved  surface  : 88  X 110  inni.  (J/o  X ‘l/’o"'-) 

Plate-mark  ; 171  X 2G0  mm.  (G|  X lOb'. ) 

Published  in 

1.  Poems  of  Frances  Sargent  Osgood,  1850,  opp.  p.  17.  Underneath  : S. 

S.  0.sgf)0(l.  J.  (dieney.  ] Frances  Sargent  Osgood  | Printrd 

by  J.  M.  Butler.  (The  name  in  fac-simile  of  signature.  — See 
“ List  of  Books,  etc.”) 

2.  Ilevntt,  Marg  K.,  The  Memorial,  etc.,  1851,  as  the  frontispiece.  liCttered 

as  above. 


88 


ENGRAVINGS  AND  LITHOGRAPHS 


Proofs. 

Before  all  lettering.  (M  F.  A.,  H.,  G.,  E.  D.  C.  The  proof  in  the 
Museum  of  Fine  Arts  shows  pencillings  in  the  background  around 
the  neck,  but  the  improvement  thus  suggested  has  evidently  never 
been  carried  out.) 

1850.  95.  Edward  Everett, 

Head,  neck,  and  part  of  the  shoulders  of  a gentleman  of  mature 
years,  fronting  the  spectator,  the  head  turned  very  slightly  to  the 
right,  the  eyes  looking  in  the  same  direction.  Lighted  from  the  left. 
White  neckcloth,  with  a broad,  rectangular  how,  over  which  is  seen 
a standing  collar.  The  whole  of  the  picture  is  overlaid  with  a ma- 
chine-ruled tint  of  horizontal  lines,  in  which  the  high  lights  are  picked 
out.  Slight  additional  shading  by  diagonal  lines,  drawn  free-hand, 
on  both  sides  of  the  neck.  Eectangle. 

Engraved  surface  : 93  X 113  mm.  (3|  X 
Plate-mark  : 166  X 239  mm.  (6^-X9|". ) 

Published  in 

1.  Everett,  Orations  and  Speeches,  etc.,  I860,  Yol.  I,  as  the  frontispiece. 

Underneath  : R.  M.  Staigg  J.  Cheney.  | Edward  Everett.  | 

Boston.  I Published  by  Charles  C.  Little  & James  Brown.  (The 
name  fac-simile  of  signature,  as  in  all  the  lettered  states.  In  the 
later  editions  the  plate  is  without  the  publishers’  address.  — See 
“List  of  Books,  etc.”) 

2.  Homes  of  American  Authors,  1853,  opp.  p.  223.  Lettered  as  above 

{i.  e.,  with  the  publishers’  address). 

3.  The  National  Portrait  Gcdlery.  The  plate  occurs  in  the  editions  pub- 

lished under  the  copyright  of  1852,  lettered  as  above,  both  with  and 
without  publishers’  address.  In  the  editions  published  under  the 
copyright  of  1868,  I have  seen  it  only  without  publishers  ’ address. 
(See  “List  of  Books,  etc.”) 


Proofs, 

1.  Unfinished.  The  ruled  tint  is  ragged  at  the  edges.  (M.  F.  A. 

There  are  two  copies,  one  of  which  shows  pencillings  to  indicate 
proposed  additional  work.) 

2.  Finished,  with  artists’  names  only.  (^I.  F.  A.) 

3.  Lettered  as  under  No.  1 of  published  states,  but  without  the  artists’ 

names.  (E.  D.  C.) 


EXECUTED  BY  JOHN  CHENEY. 


89 


[The  miniature  from  which  this  engraving  was  made  is  said  to  he  in  the 
possession  of  some  member  of  the  Everett  family.  Another,  supposed  to 
be  a replica,  was  shown  at  the  special  exhibition  of  the  works  of  Mr.  Staigg, 
held  after  his  death  at  the  Boston  Art  Club,  from  Dec.  5 to  Dec.  17,  1881, 
and  is  still  in  the  hands  of  Mrs.  B.  M.  Staigg,  the  painter’s  widow.] 

1851.  96.  Joseph.  Story. 

Head,  neck,  and  part  of  the  bust  of  an  elderly  gentleman,  wearing 
spectacles,  turned  towards  the  left,  eyes  looking  in  the  same  direction. 
Lighted  from  above.  Wliite  neckcloth,  tied  loosely  into  a knot,  collar 
turned  down  over  it.  Over  his  coat  he  wears  the  judicial  robe.  A 
very  delicate  machine-ruled  tint  in  horizontal  lines,  in  which  the  high 
lights  are  picked  out,  is  laid  over  the  whole.  Eectangle. 

Engraved  surface  : 93  X 116  ram.  (3f  X IxV^-) 

Plate-mark  : 166  X 243  mm.  (6|  X 9|".) 

Published  in 

1.  Life  and  Letters  of  Josefi  Story,  1851,  Vol.  I,  as  the  frontispiece. 

Underneath  : Joseph  Story  j From  a Crayon  Drawing  by  "W.  W. 
Story.  I Engraved  by  J.  Cheney.  | Boston.  | Published  by  Charles 
C.  Little  & James  Brown.  (The  name  fac-siniile  of  signature,  as 
also  in  the  following  state.) 

2.  The  National  Portrait  Gallery.  Underneath  : Joseph  Story  | From  a 

Crayon  Drawing  by  W.  W.  Story.  | Engraved  by  J.  Clieney.  The 
plate  in  this  state  occurs  in  some  of  the  copies  of  one  of  the  editions 
published  under  the  copyright  of  1852,  while  others  have  the  plate 
of  the  edition  of  1834-9,  by  Parker  after  Harding.  It  is  found  also 
in  tlie  editions  })ublished  under  the  copyright  of  18G8.  (See  “ List 
of  Books,  etc.”) 

Proofs. 

1.  Early  trial-proof,  all  but  the  head  indicated  in  dotted  outlines  only, 

with  a network  of  lines  over  it  to  aid  the  reduction.  (IL) 

2.  The  head  considerably  advanced.  AYork  begun  upon  the  cravat, 

waistcoat,  and  coat.  (M.  F.  A.  The  proof  shows  pencillings.) 

3.  In  tlie  ])revi(ms  ])roof  the  hd't  cheek  is  sliaded  only  by  two  sets  of 

lines  forming  lozenges.  'I’liese  lozenges  have  Ix'en  tilled  in  with 
dots.  (.M.  F.  A.,  F.  W.  C.  Th('  ])i'oof  in  the  Mus(>nm  of  Fine 
Alls  shows  pemnllings,  and  l\rr.  W.  \Y.  Story  has  writtem  ui)un  it 
in  crayon  : “ Tlds  is  very  good  in  e.vpression.  I liki'  the  nose  A 


90 


ENGRAVINGS  AND  LITHOGRAPHS 


mouth  & head  — take  this  expression.  It  is  admirable.  The  mouth 
could  not  he  better.”) 

4.  Finished,  but  without  lettering.  (M.  F.  A.,  G.,  E.  D.  C.  On  the 

proof  in  the  Museum  of  Fine  Arts  the  lettering  has  been  written 
in  pencil,  not,  however,  as  it  was  afterwards  engraved.) 

5.  With  the  lettering,  but  without  publishers’  address.  (M.  F.  A., 

Ph.,  H.) 


1852.  97.  Edith  May. 

Head,  neck,  and  part  of  the  slioulders  of  a lady,  fronting  the 
spectator,  the  head  turned  to  the  left,  the  eyes  looking  in  the  same 
direction.  Lighted  from  the  right.  Close  dress ; standing  collar 
around  the  neck,  held  together  by  a ribbon  tied  into  a bow.  A 
machine-ruled  tint  of  horizontal  lines,  in  which  the  embroidery  of 
the  collar  has  been  picked  out  white,  has  been  laid  across  the  back- 
ground and  the  dress.  Slight  shading  with  diagonal  lines  over  the 
shoulders.  Rectangle. 

Engraved  surface  : 90  X 109  mm.  ( X 4 ) 

Plate-mark  : 165  X 237  mm.  (6|  X 9jVh) 

Published  in 

Poems  by  Edith  May,  1852,  as  the  frontispiece.  Underneath : W.  H. 
Ehirness  Jr.  John  Cheney.  ] Edith  May.  (The  name  in  fac- 

simile of  signature.) 

Proofs. 

Before  all  lettering.  (Ph.,  G.,  E.  D.  C.) 

[Edith  May  is  the  pseudonym  of  Miss  Anna  Drinker,  born  in  Phila- 
delphia, Dec.  3,  1827.] 

1853.  98.  L.  Gaylord  Clark. 

Plead,  neck,  and  part  of  the  bust  of  a gentleman  in  the  full  vigor 
of  life,  seen  in  three-quarter  view,  turned  towards  the  right.  Lighted 
from  the  left.  The  right  arm  is  partly  cut  off  by  the  left  margin. 
On  the  right,  on  the  line  of  the  lower  margiji,  tliere  is  a space  of  about 
4 mm.  (yV^O  between  the  left  arm  and  the  riglit  margin.  Side-whis- 
kers and  a beard  under  the  chin  frame  the  lower  part  of  the  face  in  a 
continuous  line.  No  collar  ; striped  neckcloth,  folded  over  and  nearly 
hiding  the  shirt-front,  with  a jewelled  pin  in  it ; watch-guard,  crossing 


EXECUTED  BY  JOHN  CHEXEY. 


91 


the  bosom  from  left  to  right  downward.  Simple  gradated  background 
of  wavy  horizontal  and  perpendicular  lines  crossing  one  another.  Eec- 
tangle,  surrounded  by  a line  close  to  it,  and  a second  line  about  -1  mm. 

distant  from  the  first.  (Description  of  later  state,  vignetted, 
see  below,  under  No.  2.) 

Rectangle  without  lines  : 80  X 94  mm.  (3|  X 

From  outer  line  to  outer  line  ; 87  X 101  mm.  (3pg  X 4U ) 

Plate-mark  : 186  X 278  mm.  (7j\  X lOffU) 

Published  in 

1.  The  Knicherhocker  Magazine^  1853,  as  the  frontispiece  of  Yol.  XLI. 

Underneath,  outside  the  border-lines  : C.  L.  Elliott.  J. 

Cheney.  | Very  Truly  Yours,  | L.  Gaylord  Clark.  (The  last  two 
lines  in  imitation  of  handwriting.  Under  the  signature  a check- 
mark y/.) 

2.  The  Knicherhocker  Gallery,  1855,  as  the  frontispiece.  The  border-lines 

have  been  removed,  and  the  rectangle  has  been  converted  into  a 
vignette,  below  by  extending  the  drawing,  in  the  background  by 
adding  roulette  work  all  around.  There  has  also  been  introduced  a 
white  standing  collar  around  the  neck  of  the  subject,  "which  hides 
part  of  the  beard.  Extreme  limits  of  the  "work  : 85  X 100  mm. 
(3^\  X 3^1").  Underneath  : C.  L.  Elliott  J.  Cheney.  | L. 

Gaylord  Clark.  ] Printed  by  Wellstood  & Peters  | . (The  name  is 
in  fac-simile  of  signature,  hut  without  the  check-mark.) 

3.  The  plate  is  in  the  possession  of  J.  C.  Buttre,  New  York,  "who  pub- 

lishes impressions  for  sale,  lettered  as  under  No.  2,  but  without  the 
printers’  address. 

Proofs. 

1.  Tolerably  early  trial-proof.  A high  light  on  the  right  cheek.  Two 

white  lines,  marking  folds,  on  tlie  right  sleeve.  (M.  F.  A.) 

2.  Like  No.  1,  but  strengthened  throughout.  One  of  the  "white  lines  on 

the  sleeve  has  disappeared.  As  a further  mark  of  recognition  may 
be  mentioned  a set  of  diagonal  lines,  laid  over  the  lower  ])art  of  the 
shirt-front.  (G.) 

3.  The  second,  u])per  white  line  on  the  sleeve  has  disappeared,  but  the 

high  light  on  the  cheek  remains.  ((,1.) 

4.  The  light  on  the  cheek  has  heen  toiu'd  down.  The  lozenges  formed 

by  the  lines  on  the  coat  are  still  without  dots.  There  are  no  border- 
lines. (M.  F.  A.,  ir.,  G.,  F.  W.  C.) 

5.  Finished,  but  with  only  the  outer  border-line.  Lettered  as  above 

under  No.  1 of  ])nblished  states,  but  without  the  check-mark  under 
the  signature.  (M.  F.  A.) 


92 


ENGRAVINGS  AND  LITHOGRAPHS 


1857,  99.  Estelle  Anna  Lewis. 

Half-length  of  a lady  with  rich  curls,  facing  the  spectator,  the  head 
turned  very  slightly  to  the  right,  the  eyes  looking  in  the  same  direc- 
tion, Lighted  from  the  left.  She  wears  a low-necked,  short-sleeved 
dress.  The  hack  of  the  fauteuil  in  which  she  is  sitting  is  visible  to 
the  left.  Both  arms  are  seen  to  below  the  elbow.  A tint  of  horizontal 
machine-ruled  lines,  in  whicli  high  lights  are  picked  out,  has  been 
laid  over  the  whole.  Over  the  background  another  set  of  lines  has 
been  ruled  diagonally.  Additional  shading  around  the  head  and 
shoulders.  Eectangle. 

Engraved  surface  : 89  X 107  mm.  (3J 
Plate-mark  ^ 162  X 211  mm.  (6|  X 9^^) 

Published  in 

Estelle  Anna  Lewis,  Records  of  the  Heart,  etc.,  1857,  as  the  frontispiece. 
Underneath  ; C.  L.  Elliott.  J.  Cheney.  [ Estelle  Anna  Lewis. 

(The  name  in  fac-siniile  of  signature.  — See  “ List  of  Books,  etc.”) 

Proofs, 

1.  Early  trial-proof,  showing  very  little  color  as  yet.  Flat  tint  of 

machine-ruled  horizontal  lines,  in  which  the  high  lights  have  been 
picked  out,  laid  across  the  whole.  (G.) 

2.  Brought  up  to  color,  considerable  additional  work  done  on  dress, 

slight  shading  by  diagonal  lines  in  background  in  lower  half  to 
right.  (M.  E.  A.,  G.  The  proof  in  the  collection  of  the  Museum 
ol  Fine  Arts  shows  pencillings,  indicating  proposed  further  shad- 
ing in  the  background.) 

3.  ^Yith  the  proposed  further  shading  in  the  background,  around  the 

head,  laid  in  very  delicately  in  diagonal  lines.  (U.  S.,  M.  F.  A., 
E.  D.  C.) 

■4,  With  an  additional  set  of  diagonal  lines  laid  across  part  of  the  shading 
in  the  lower  right  background.  The  shading  in  the  chair  also 
strengthened  by  additional  perpendicular  lines.  (M.  F.  A.,  E.  D.  C.) 

5.  With  a set  of  very  fine  diagonal  lines  machine-ruled  across  the  hori- 

zontal lines  of  the  background.  This  is  the  finished  state,  before  all 
lettering.  (M.  F.  A , G.) 

6.  With  the  lettering.  (H.) 


EXECUTED  BY  JOHN  CHENEY. 


93 


[This  is  the  last  plate  engraved  by  John  Cheney,  and  the  fact  that,  — 
although  it  is  far  from  being  his  best  work,  — there  are  more  trial-proofs 
of  it  extant  than  of  any  other  plate  engraved  by  him,  seems  to  show  that 
he  was  weary.  There  is  still,  indeed,  a tradition  in  the  family  that  it 
nearly  “tormented  John  to  death.”  Mrs.  Ednah  D.  Cheney  has  a slight 
preparatory  drawing.] 


BANK-NOTE  WORK. 

John  Cheney  did  some  bank-note  work,  but  as  none  of  it  is 
signed,  it  is  difficult  to  select  the  dies  engrayed  by  him  from  the 
vast  mass  of  this  kind  of  work  — much  of  it  of  the  hiffiiest  ex- 

O 

cellence  — produced  by  American  engravers  in  general.  The 
fact  that  proofs  fi'oin  such  dies  w^ere  found  in  his  collection, 
furnishes  no  guarantee  that  they  were  also  engraved  by^  him, 
as  it  is  well  known  that  he  had  in  his  possession  proofs  — some- 
times even  unfinished  trial-proofs  — from  plates  engraved  by 
friends  of  his,  and  no  doubt  given  to  him  by  them.  Internal 
evidence,  however,  supported  by  family  tradition,  makes  it  cer- 
tain that  the  four  plates  described  in  detail  below  are  the  work 
of  his  graver.  A number  of  other  dies,  including  portraits  of 
Thomas  IMcKeen,  J.  Q.  Adams,  John  1\I.  Clayton,  and  Daniel 
Webster,  which  some  of  the  members  of  the  family  are  inclined 
to  attribute  to  him,  I have  thought  it  best  to  omit.  No  attempt 
has  been  made  to  assign  even  an  aj^proximate  date  to  the  dies 
here  described.  No  bank-bills  that  have  been  actually  in  use, 
with  any  of  these  dies  introduced,  have  as  yet  come  under  my 
observation. 

100.  The  Young  Princess. 

Diis  i.s  a roduoed  and  roverscMl  ropctition  of  ])art  of  a plate  in  “The 
Token  ” for  IS.J.o  (s('c  No.  3b  of  thi.s  (;aialogue).  Of  tlio  dress  only 
]>art  of  tlie  slc(!VO  is  shown,  the  l)odicc,  with  the  rosette  of  libbou  upon 
the  bosom,  lias  been  cnt  off.  Oval. 

1 )iimiisioiis  of  the  ov;d;  29  X I'.")  iiiiu.  (1  A ^ IS  t) 

IMate-iiiark  ; 51  X Cl  miii.  (2J  X2g  '.) 


94 


ENGRAVINGS  AND  LITHOGRAPHS 


Proofs. 

Finished,  but  still  showing  in  the  margin  of  the  plate  the  network  of 
lines  used  in  reducing.  (G.,  E.  D.  C.) 

101.  Childhood. 

Eeduced  repetition  of  the  plate  engraved  for  ‘‘The  Gift”  of  1840, 
after  Sully  (see  No,  52  of  this  catalogue),  but  vignetted,  instead  of 
being  enclosed  in  an  oval.  (For  another  state  of  the  same  die,  see 
below.) 

Extreme  limits  of  work : 43  X 44  mm.  (1x1  X If". ) 

Plate-mark  : 51  X 90  mm.  (2  X 3f". ) 

Proofs. 

Finished.  (M.  F.  A.,  E.  D.  C.) 

Advertising  Sheets. 

The  same  die  occurs  also  on  a folio  advertising  sheet  of  “ Durand 
& C?,  Bank  Note  Engravers,  26  Wall  Street,  New  York,”  made 
up  of  a two-dollar  bill  and  a selection  of  vignettes  and  numbers. 
The  engraved  surface  of  the  representation  itself  here  measures 
29  X 42  mm.  (If  X 1|'0»  fhe  figure  having  been  lengthened  some- 
what below,  and  the  background  cut  off  above  and  on  the  sides. 
The  picture  is  enclosed  in  an  ornamental  frame,  straight  at  the 
sides,  but  rounded  above  and  below,  and  with  projecting  orna- 
ments above  and  below.  Such  a sheet  is  in  the  possession  of  Mr. 
J.  Linton  Chapman,  the  artist,  of  Brooklyn,  N.  Y. 


102.  The  Bride. 

Three-quarter  length  of  a young  lady,  fronting  the  spectator,  the 
head  slightly  bent  and  turned  to  left.  Her  hair,  parted  on  the  left 
side  of  the  head,  is  arranged  in  curls,  and  the  bridal  veil  is  fastened 
to  it  by  a jewelled  ornament.  She  wears  a dress  with  wude  sleeves, 
closed  and  with  lace  cuffs  at  the  wrists,  and  over  it  a lace  kerchief 
held  together  at  the  neck  by  a small  broach.  A larger  broach  with  a 
pendent  is  upon  her  bosom.  She  is  in  the  act  of  drawing  on  the  left 


EXECUTED  BY  JOHN  CHENEY. 


95 


glove.  Behind  her,  to  the  left,  part  of  a cheval-glass  ; nearly  the 
Avhole  of  the  rest  of  the  hackground  is  tilled  b}'  a curtain.  Itectangle. 

Engraved  surface  : 43  X 51  nun.  (11 J X2'C) 
riate-mark  : 59  X 75  iniii.  (2j\  X 3'C) 


Proofs. 

Finished.  (U.  S.,  M.  F.  A.,  H.,  G.,  E.  D.  C.) 

[This  is  a reduction  from  an  English  engraving  by  Charles  Heath. 
The  impression  used  by  John  Cheney  is  still  in  the  possession  of  IMrs. 
Ednali  D.  Cheney.  There  is  another,  but  inferior,  engraving  of  the 
same  subject,  lettered  : Painted  by  C.  Pt.  Leslie,  R.  A.  Tiller. 

Direx.  Engraved  by  J.  D.  Germon.  | The  Bride  | Engraved  for  the 

Ladies’  Companion.] 


103.  Genius  with  a Diadem  of  Stars. 

Head,  neck,  and  part  of  the  bust  of  a youth,  in  profde  to  the  right, 
the  head,  however,  turned  partly  towards  the  spectator,  so  that  the 
face  is  seen  in  about  tliree-quarter  view,  the  eyes  looking  out  of  the 
picture.  Lighted  from  the  right.  The  hair  is  parted  in  the  middle, 
and  arranged  in  well-defined  ringlets  all  around  the  head.  The  latter 
is  encircled  by  a diadem  of  stars.  The  shoulder  and  the  back  are 
covered  by  drapery  in  ample  folds.  Simple  gradated  l)ackgrouml  of 
straight  horizontal  and  perpendicular  lines  crossing  one  another.  Rec- 
tangle. (Other  states  see  below.) 

Engraved  surface  : 44  X 44  nun.  (If  X 
Plate-mark  : 73  X 83  nun.  {2}  X 3^". ) 


Proofs. 

1.  As  described  above.  (F.  1).  C.  IMrs.  E.  AV.  Goodman  has  what  ap- 

pears at  first  sight  to  b(j  a ])roof  from  the  dii“  itscdf,  changt'd  from  a 
rectangle  to  a circle.  (Moser  inspection,  however,  shows  that  it  is 
an  India  ])roof,  whicli  has  bcmii  carefully  cut  to  a cirtde,  and  the 
corners  then  peeled  olf.) 

2.  MMie  rectangle  reduced  to  37  X -10  mm.  (1^  X I n/ )»  >‘'“1  ^'"r- 

iiers  cut  out  in  (luartei’  eircdes  of  about  3>  nun.  (!,")  radius.  In  this 
state  it  is  used  on  a S2.5  bill  of  the  (!heinieal  Lank  of  Xi'W  A’ork, 
showing  the  uddres.s  of  Durand  & ('om[)b  New  AM»rk.  (M.  F.  \.) 


96 


ENGRAVINGS  AND  LITHOGRAPHS  BY  J.  CHENEY. 


3.  The  rectangle  changed  to  an  oval.  Dimensions : 36  X dl  mm. 
(Ij^g  X If^O-  shape  used  on  a $50  bill  of  the  Chemical 

Bank,  as  above.  (E.  D.  C.) 

Advertising  Sheets. 

The  rectangle  changed  to  an  oval,  measuring  34  X 40  mm.  (If  X 1tV")» 
and  surrounded  by  three  lines.  In  this  state  it  is  used  on  the  ad- 
vertising sheet  described  under  No.  101. 

[The  design  is  an  adaptation  of  a drawing  by  Leonardo  da  Vinci.  — Note 
hi)  Mrs.  Ednah  D.  Cheneij.^ 


Note.  — In  tlie  Phillips  Collection  there  is  an  impression  of  V.  Batch’s  en- 
graving, The  Fair  Pilgrim,  after  G.  L.  Brown,  which  was  published  in  “The 
Token  and  Atlantic  Souvenir,”  for  1836.  On  this  impression  Batch’s  name  has 
been  crossed  out  and  that  of  John  Cheney  substituted  in  pencil.  There  is  no 
reason,  however,  to  assume  that  the  plate  was  engraved  by  him,  as  a comparison 
with  his  undoubted  plates  in  the  same  volume  will  show. 


II.  SETH  WELLS  CHENEY. 

1810-1856. 


1830?  1.  The  Dead  Bird. 

A little  girl,  bareheaded,  with  short  curly  hair,  standing  and  facing 
towards  the  right,  the  head,  in  prohle,  somewhat  bent  downward,  the 
right  hand,  with  fingers  spread  out,  held  against  the  abdomen,  the  left 
against  the  waist,  is  looking  in  terror  at  a dead  bird,  lying  on  its  back 
on  a stone  bench  partially  seen  on  the  right,  on  which  stands  a wicker 
cage,  also  only  partially  seen.  Tlie  background  is  formed  by  the  stone 
wall  of  a house,  in  wliich,  on  the  left,  is  seen  part  of  a door,  on  the 
step  of  which  stands  a porringer,  partly  cut  off  by  the  left  margin,  and 
in  it  a spoon.  To  the  right  of  the  door  rises  a grape-vine,  the  foliage 
of  which  is  seen  in  the  upper  right-hand  corner.  Rectangle. 

Engraved  surface  : 65  X 82  mm.  (2|  X ) 
riate-mark  : ? X ? 

Proofs. 

Before  all  lettering.  (E.  D.  C.) 

[There  is  no  other  evidence  than  family  tradition  that  this  plate  was  en- 
graved by  S.  W.  Cheney.  The  title,  also,  is  simply  derived  from  the 
subject.  On  the  proof  in  Mrs.  Cheney’s  ])ossession  is  marked  in  pencil  : 
Sep‘  J830,  believed  to  be  in  Mr.  Cheney’s  handwriting.] 


1830?  2.  Widow  and  Orphans. 

A young  woman,  turned  towards  the  h>ft,  her  face  si'cn  in  protile, 
wearing  a dark  bonnet  and  a white  dress  with  a dark  bodice,  sits  upon 


98 


ENGRAVINGS 


a grassy  bank  at  the  foot  of  a large  tree.  Her  right  elbow  rests  upon 
the  bank,  and  with  the  lingers  of  her  right  hand  she  supports  her  head, 
which  is  bent  downward.  The  left  arm  hangs  down  by  her  side. 
Towards  the  left  stands  a child,  resting  its  right  arm  in  the  lap  of  the 
woman,  and  looking  up  into  lier  face.  Towards  the  right  is  another 
child,  kneeling  upon  tlie  ground,  its  back  turned  towards  the  woman, 
and  playing  with  flowers  in  its  lap.  In  the  background,  on  the  right, 
trees,  a rough  garden  gate,  and  part  of  tlie  door  of  a house,  with  flow- 
ers before  it ; on  tlie  left,  children  around  a May  pole,  before  a house 
partially  seen.  Hectangle. 

Engraved  surface  : 6o  X 83  nmi.  (2^gX  o^'.} 

Plate-mark  : ? X ? 

Proof  ? 

The  only  impression  I have  seen  is  cut  close  all  around,  and  is  mounted 
on  a piece  of  drawing-paper.  It  is  questionable  whether  it  is  a proof, 
or  a print  with  the  lettering  cut  off.  (E.  D.  C.) 

[There  is  no  other  evidence  than  family  tradition  that  this  plate  was 
engraved  by  S.  W.  Cheney.  The  title,  also,  is  simply  derived  from  the 
subject.  On  the  paper  on  which  the  impression  mentioned  above  is 
mounted,  is  written  in  pencil  ; Nov!  1830,  believed  to  be  in  Mr.  Cheney’s 
liandwriting.] 


1831.  3.  Tired  of  Play. 

A little  girl,  wearing  a large  straw  hat,  seen  in  profde  towards  the 
right  as  to  the  body,  the  face  in  three-quarter  view,  the  eyes  looking 
out  of  the  picture,  stands  leaning  with  her  back  against  a large  tree  on 
the  left.  At  her  feet,  to  the  right  of  her,  a basket  with  a cloth  in  it. 
In  the  right  lower  corner  lies  a dog,  Avith  a string  attached  to  his  col- 
lar. In  the  middle  distance  agate  of  two  bars;  beyond,  a house  and 
the  steeple  of  a church  among  trees.  On  the  extreme  left,  growing  at 
the  foot  of  the  tree,  a Morning  Glory  vine,  etc.  Rectangle,  surrounded 
at  a distance  of  about  2 mm.  by  one  line  above  and  to  right,  by  two 
lines  below  and  to  left. 

Engraved  surface,  without  the  lines  : 62  X 77  mm.  (2|  X •) 

With  the  lines  : 66  X 81  mm.  (2^  X 
Plate-mark  : ? X ? 


EXECUTED  BY  SETH  WELLS  CHENEY. 


99 


Published  in 

The  Youth^s  Keepsake,  1831,  opp.  p.  176.  Underneath,  outside  the  lines  : 
H.  Corbould  del.  S W Cheney  Sc.  [ Tired  of  Play.  | Published 

by  Carter  & Hendee.  Boston. 

Proofs. 

Finished,  but  without  the  border-lines,  lettered  underneath  : H.  Cor- 
bould. del.  S.  W.  C.  sc.  I Tired  of  Play.  | Published  by  Car- 

ter & Hendee.  Boston.  (F.  W.  C.) 

[The  proof  in  Mrs.  F.  W.  Cheney’s  possession  is  marked  in  pencil  : May  — 
1830,  believed  to  be  in  Mr.  Cheney’s  own  handwriting.  This  engraving 
was  made  from  a lithograph,  still  in  the  possession  of  j\Irs.  E.  D.  Cheuey, 
size  of  drawing  150  X 189  mm.  (5[|  X lettered  : Tired  of  Play.  | 

Drawn  on  Stone  by  G.  Childs,  from  a Picture  by  H.  Corbould  | Printed  by 
Engelmann,  Graf,  Coindet  & Co.  ] And  Published  by  them  at  14  New- 
man St.  Jan.  1,  1830.] 

1832.  4.  The  Dead  Soldier. 

(The  Soldiers  Wife.) 

A young  woman,  witli  a babe  in  her  lap,  her  bosom  nearly  bare,  is 
sitting  on  the  ground  to  the  left.  At  her  feet  lies  her  bonnet.  To  the 
right  of  her  lies  a dead  soldier,  head  foremost,  foreshortened  into  the 
picture.  Tlie  woman  holds  the  right  arm  of  the  dead  man  on  her  left 
knee  with  her  left  hand,  and  rests  her  head  upon  the  same  hand,  so 
that  her  face  is  hidden.  Upon  the  branches  of  some  trees  back  of  the 
group  is  hung  the  canvas  of  a tent,  which  shuts  out  nearly  the  whole 
distance.  To  the  right,  in  the  middle  distance,  is  partly  seen  a cannon, 
and  beyond  an  officer  on  horseback,  a troop  of  soldiers,  and  })art  of  a 
liouse,  with  the  sky  over  it.  Rectangle. 

Engraved  .surface:  74  X 94  nun.  (2R  X 
Platc-inark  : ? X ? 

Published  in 

1.  T)ie  Token,  1832,  opp.p.  \^\.  Underneath:  J.  Wright  pinxt.  F, 

W.  Cheney  sculj).  | The  Dead  Soldier.  | Published  by  Cray  A Bowen. 
Boston.  I 1)  llus.sell.  P'.'  ] . 

2.  AtJcinson's  Casket,  183/f,  opj).  ]).  97,  a.s  the  frontispiece  to  No.  3,  for 

March.  Undi'Mieath  : .1.  'Wb'ight  j)inxt.  S.  W.  Cheiu'v  .sculj).  | 

d’he  Diaid  Soldier.  | Publi.shed  by  S.  C.  Atkinson.  Cro.ssing  the 


100 


ENGRAVINGS 


lower  margin,  somewhat  to  the  right  of  the  middle,  is  seen  a slip  of 
the  graver. 

3.  ? ? ? .?  Underneath  ; J.  Wright  pinxt.  S.  W.  Cheney  sculp.  ] 

The  Dead  Soldier.  With  the  graver  slip.  (K.) 

4.  The  Gift  of  Friendship,  18f8,  opp.  p.  80.  Underneath  ; J.  Wright 

pinxt.  S.  W.  Cheney  sculp.  ] The  Soldiers  Wife,  With  the 
graver  slip. 

5.  llememher  Me,  1851,  opp.  p.  76.  Lettered  as  under  No.  4.  With  the 

graver  slip, 

[This  was  copied  from  a larger  engraving,  of  which  the  group  shown 
formed  only  a part.  — Note  by  Mrs.  Ednah  D.  Cheney.  — See  an  inter- 
esting reference  to  this  plate,  “ Memoir  of  S.  W.  C.,’^  p.  12.] 

1832.  5.  The  Invisible  Serenader. 

A moonlight  scene.  A young  lady,  bareheaded,  with  curls,  but  the 
back  hair  arranged  in  a mass  on  the  back  of  the  head,  stands  upon  a 
small  balcony  on  the  right,  and  looks  down  towards  the  left  upon  a 
sheet  of  water  which  is  bounded  in  the  middle  distance  by  a hilly 
shore.  With  the  left  hand  she  supports  herself  upon  tlie  simple  iron 
railing  of  the  balcony  ; with  the  right  slie  holds  a shawl  which  is 
thrown  across  her  right  shoulder.  Tlie  full  moon  is  seen  towards  the 
left,  near  the  line  of  hills.  Rectangle. 

Engraved  surface  : 75  X 103  mm.  (3  X iff'.)  ^ 

Plate-mark  : ? X ? 

Published  in 

1.  The  Token,  1832,  opp.  p,  189.  Underneath  : J.  JM.  Wright,  del.  S. 

W.  Cheney,  sculp.  | The  Invisible  Serenader,  | Published  by  Gray 
& Bowen  Boston.  [ D Russell  Pll  | . 

2.  Atkinson's  Casket,  1833,  opp.  p.  337,  as  the  frontispiece  of  No.  8,  for 

August.  Underneath  : J.  M.  Wright,  del.  S.  W.  Cheney, 

sculp.  ] The  Invisible  Serenader.  | Published  by  S.  C.  Atkinson, 

[See,  concerning  this  engraving,  “ Memoir  of  S.  W,  C.,”  p.  11.  Also 
John’s  commendation  of  it,  “ Memoir  of  J.  C.,”  p.  19.] 

1833.  6.  The  Young  Savoyard. 

A cnrly-headed  little  boy,  full  length,  the  lower  part  of  the  body 
turned  towards  the  left,  the  head  towards  the  right,  sits  on  a rock, 


EXECUTED  BY  SETII  WELLS  CHENEY. 


101 


resting  the  backs  of  his  hands  on  liis  thighs.  He  wears  a broad- 
brimmed  hat,  a jacket  over  a heavy  waistcoat,  liglit-colored  pantaloons 
tucked  into  gaiters,  and  lieavy  wooden  sabots.  Hackgroimd  of  rocks 
and  trees  on  tlie  right.  On  the  left,  a })iece  of  water  with  a sail-boat 
and  two  men  in  it,  a hilly  shore,  and  over  it  the  sky.  Itectangle. 

Engraved  surface  : SO  X 106  mra.  X lAd'.) 

Plate-mark:  148  X 227  mra.  (5f-|X8l-UC) 

Proofs. 

1.  Early  trial-proof.  (E.  D.  C.) 

2.  Later,  but  still  imtiiiished.  Diagonal  lines  laid  across  the  foreground 

in  lower  left  hand  corner.  ((4.) 

[This  plate,  engraved  by  Seth  W.  Cheney  in  Paris,  with  the  aid  of  his 
brother  John,  was  lost  in  transmission.  See  “ Memoir  of  S.  W.  C.,”  p.  1(1. 
I have  not  seen  a finished  proof  of  it.  Mrs.  Ednali  D.  Cheney  thinks  the 
original  was  a water-color,  possibly  by  Tony  Johannot.] 

1834.  7.  Bible  Illustrations. 

It  is  known  that  Setli  Wells  Clieney  (see IMemoir,”  p.  13)  engraved 
a number  of  plates  for  “ Tlie  Comprehensive  Commentary  of  the  Holy 
Bible,”  in  G vols.,  published  in  Brattleboro’  and  Boston  from  1834  to 
1838.  (See  “ List  of  Books,  etc.”)  iCone  of  the  plates  in  this  work 
bear  his  name,  but  Mrs.  Ednah  D.  Cheney  is  inclined  to  think  that 
“The  Xativity,”  on  the  title-page  of  Vol.  TY,  dated  1834,  and  six 
others  in  the  same  volume,  illustrating  IMatt.  xiii.  1-0  (The  parable  of 
the  sower).  Matt.  xxii.  15-22  (Idie  tribute  money),  Luke  xvi.  10-31 
(Lazarus  at  the  door  of  the  ricli  man),  Luke  xvii.  11-10  (Clirist  heal- 
ing the  ten  lepers),  John  ix.  (Jesus  giving  sight  to  one  who  was  bom 
l)lind),  and  John  vi.  14-21  (Jesr.s  uadking  on  tlie  S(rr),  may  be  by 
him.  All  of  tliese  are  without  any  name,  and  the  six  are  printtnl  in 
pairs  on  yellow  ])apcr.  Mr.  Crosman  says  that  “ I'lie  Nativity”  is 
“ undoubtedly  by  Seth.”  To  mo  none  of  them  aj)pear  wortliy  of 
Setli  Wells  Cheney  (unless  tlioy  should  be  earlier  work,  engravml 
some  years  l>efore  the  book  which  contains  them  was  ])ublislu'd),  with 
tlie  ])0ssible  excejition  of  “ The  Nativity.”  If  this  should  bo  by  him, 
tlie  engraving  on  the  title-page  of  \hJ.  Ill,  dated  18.37,  might  also  he 
Ids  work.  I'hose  curious  in  the  matter  can  oxandm'  llu'  lioidc  for 
themselves  at  the  Boston  Hulilic  Eihrary. 


102 


ENGKAVINGS 


1836.  8.  The  Pilot’s  Boy. 

(the  wreck.) 

A dead  boy  lies  stretched  out  on  the  ground,  head  foremost,  the 
liead  in  the  middle  of  the  foreground,  the  body  foreshortened  obliquely 
into  the  picture  towards  the  left.  At  the  head  of  the  boy,  behind 
him,  kneels  his  mother  on  both  knees,  turned  towards  the  left,  her 
face  buried  in  her  liands,  her  cloak  blown  towards  the  right  by  the 
Mund.  To  the  left  of  Iier  the  hither  kneels  on  one  knee,  his  hands 
folded  and  resting  on  his  right  thigh,  the  body  sliglitly  turned  to  left, 
but  the  head  fronting  the  spectator,  the  eyes  looking  straight  out  of  the 
picture,  bareheadetl,  his  hair,  as  well  as  a heavy  comforter  which  he 
wears  around  his  neck,  blown  towards  the  riglit  by  the  wind.  In  the 
distance,  to  the  right,  waves  and  the  masts  of  a vessel.  To  the  left, 
low  hillocks,  witli  a house  and  a fence.  Upper  part,  clouded  sky. 
Kectangle. 

Engraved  surface  : 81  X 102  mm.  (3 A X T'. ) 
riate-inark  : ? X ? 

Published  in 

1.  The  Token,  1836,  opp.  p.  301.  Underneath  : S.  W.  Cheney  Sc.  | 

The  Pilot’s  Boy.  | Printed  by  D.  Stevens. 

2.  Peterson's  Magazine,  Vol.  ?.  Underneath  : S.  W.  Cheney  Sc.  | The 

Pilot’s  Boy.  I Engraved  for  Peterson’s  Magazine.  (Ph.  I have  not 
been  able  to  find  the  volume  containing  this  state.) 

3.  Atkinson'' s Casket  ? Underneath  : S.  W.  Cheney  Sc.  | The  Pilot’s 

Boy.  I Published  by  S.  C.  Atkinson.  (U.  S.  Atkinson’s  address 
makes  it  probable  that  the  plate  in  this  state  appeared  in  the  “ Cas- 
ket,” but  I have  not  been  able  to  find  a volume  containing  it.) 

4.  Mrs.  Hemans,  Poetical  Works,  18Jf8,  opp.  p.  275.  Underneath  : S.  W. 

Cheney  | The  Wreck.  The  letters  Sc.  have  been  removed.  (See 
“ List  of  Books,  etc.”) 

Proofs, 

Before  all  lettering.  (M  F.  A.  This  proof  shows  lights  scraped  ort,  and 
additions  in  India  ink,  none  of  which  suggestions  seem,  however,  to 
have  been  carried  out.) 

[According  to  list  of  “ Embellishments  ” in  '‘The  Token,”  the  original 
was  “sketched  by  G.  L.  Brown.”] 


EXECUTED  BY  SETH  WELLS  CHEXEY. 


103 


1837.  9.  The  Mother. 

Three-quarter  length  of  a young  lady,  seated,  turned  towards  the 
riglit,  the  head,  slightly  bent  forward,  seen  in  profile.  Her  hair  is 
done  up  in  loose  masses  on  the  back  of  the  liead,  she  wears  a plain 
dress,  rather  low  cut,  with  long  flowing  sleeves  ; around  her  neck 
hangs  a chain  in  two  folds.  On  her  lap,  supported  by  her  hands,  of 
which  the  right  is  seen  only  partially,  lies  a naked  infant  on  a white 
cloth,  head  to  right,  feet  towards  left,  with  out-stretched  arms  (sug- 
gesting Christ  crucified),  grasping  the  chain  around  the  mother’s  neck 
with  the  right  hand.  In  the  background  a curtain  to  the  right,  part 
of  a column  to  the  left.  Eectangle. 

Engraved  surface  . 87  ©9  mm.  (3 X 3g". ) 

Plate-mark  : 143  X 191  mm.  (5|  X 7^".) 

Published  in 

The  Token,  1837,  opp.  p.  145.  Underneath  : Painted  by  W.  Alston 
[sic].  Engraved  by  S.  W.  Cheney.  | The  Mother.  | Boston 

Published  by  Charles  Bowen  | R Neale  Print. 

Proofs. 

1.  Before  all  lettering.  (M.  1".  A.) 

2.  AVith  lettering,  but  without  the  printer’s  address.  (E.  D.  C.) 

[Mrs.  Ednah  D.  Cheney,  in  “ Memoir  of  S.  W.  C.”,  p.  10,  says  that  this 
plate  was  engraved  in  1832,  while  IMr.  Cheney  held  the  position  of  guar- 
dian of  the  collection  of  casts  and  pictures  owned  by  the  AtliemTum,  then 
located  in  Pearl  Street.  This  statement  is  borne  out  by  the  fact  that  the 
original  was  shown  at  the  Athenseuin,  as  the  property  of  that  institution, 
in  the  exhihitions  of  1830  and  1831.  In  the  exhibitions  of  the  succeeding 
years  it  does  not  appear,  nor  was  it  shown  at  the  special  exhibition  ot 
Allston’s  works,  held  at  Harding’s  Gallery  in  1839.  According  to  Mrs. 
Cheney,  as  quoted,  the  picture  was  burned.  As  to  the  engraving,  which 
is  Seth  Wells  Cheney’s  most  inq)ortant  and  best,  the  mature  cliaracter  ot 
the  work,  as  well  as  the  date  of  ]mblication,  would  seem  to  point  to  a later 
date,  and  if  he  engraved  it  before  he  studied  in  Paris,  the  perlonnance  is 
little  short  of  miraculous.] 

1839.  10.  Going  to  Battle. 

(the  sister’s  EAUEWEIUi.  — THE  YOUNG  WARRIOR.) 

Interior  of  an  old  library.  In  tlie  background,  book-shelves  with  a 
folding-scr(!on  before  them.  In  front  of  the  screen  two  arm-(diairs, 


104 


ENGRAVINGS  BY  S.  W.  CHENEY. 


partially  seen.  To  the  right,  in  the  foreground,  the  corner  of  a table 
with  a heavy  cover  is  seen,  and  upon  it  part  of  a book.  One  book 
leans  against  it,  another,  with  clasps,  is  on  the  ground.  On  the  left, 
part  of  a door  and  low  bookshelves,  against  which  leans  a sword. 
Above  the  shelves,  a suit  of  armor  and  a full-length  portrait.  In  the 
middle  of  the  picture  stands  a young  man  in  the  costume  of  the  eigh- 
teenth century,  facing  towards  the  left,  seen  in  profile.  He  holds  his 
sword  in  his  left  hand,  while  the  right  hand  is  raised  up  before  his 
breast.  A young  lady,  to  the  left  of  the  young  man,  tries  to  prevent 
his  departure.  With  her  riglit  hand  she  holds  the  door,  her  left  is 
laid  upon  the  young  man’s  right  arm,  and  she  looks  intently  into  his 
face.  Eectangle. 

Engraved  surface  : 76  X 104  min.  (3  X 4^". ) 

Plate-mark  : ? X ? 

Published  in 

1.  The  Christian  Keepsake,  1839,  opp.  p.  291.  Underneath  ; H.  Cor- 

bould.  Cheney.  | Going  to  Battle  | Printed  by  D.  Stephens 

[sic]. 

2.  The  Religious  Offering,  I84O,  oj3p.  p.  70.  Underneath:  H.  Cor- 

boukl.  Cheney.  | The  Sister’s  Farewell  \ Printed  by  D. 

Stephens  [sic]. 

3.  The  Religious  Keepsake,  18Jf6,  opp.  p.  268.  Underneath  : H.  Cor- 

bould.  Cheney.  [ P.  268.  | The  Young  Warrior. 

4.  Token  of  Friendship,  no  date,  opp.  p.  180.  Lettered  as  under  Uo.  3, 

including  even  “ P.  268.” 

[Tlie  original  of  this  plate  seems  to  have  been  “ Rob  Roy,”  engraved  by 
Chas.  Rolls,  and  published  in  “The  Waveiley  Keeyisake,”  London,  no 
date.  Although  the  last  in  order  of  date  of  publication,  this  plate,  judg- 
ing from  the  quality  of  the  work,  must  have  been  one  of  the  first  engraved 
by  S.  W.  Cheney.  Mrs.  Ednah  D.  Cheney  thinks,  indeed,  that  it  was  the 
first  engraved  by  him  in  Boston.  This  tallies,  also,  with  what  Mr.  Cros- 
man  says,  “ Memoir  of  S.  W.  C.,”  p.  18:  “The  first  plate  which  he  en- 
graved — a copy,  I think,  from  one  of  the  illustrations  of  the  Waverley 
Novels,”  etc.  Possibly  further  research  will  disclose  an  earlier  book  in 
which  it  was  used  before  it  appeared  in  “ The  Christian  Keepsake  ” for 
1839.] 


III.  OUTLINES  AND  SKETCHES 


BY  ^yASHIXGTON  ALLSTON. 

ENGRAVED  BY 

JOHN  AXD  SETH  WELLS  CHENEY. 


OUTLINES  AND  SKETCHES 

By  Washington  Allston. 

An  oblong  folio  volume,  containing  an  engraved  title-page, 
one  page  of  printed  matter,  and  eighteen  sheets  with  impres- 
sions from  eighteen  engraved  plates  and  two  lithographic 
drawings,  making  in  all  twenty  sheets  and  twenty-one  designs 
(counting  the  title-page).  The  printed  introduction  is  as  fol- 
lows : “ The  Outlines  and  Sketches  contained  in  this  Volume, 
are  a part  of  those  found  in  Mr.  Allston’s  Studio,  in  Cam- 
bridge,  Massachusetts,  after  his  death,  in  July,  1843.  Tliey 
“consist  in  great  part  of  compositions,  hastily  sketched  in 
“ chalk,  and  never  carried  furtlier ; among  them,  however,  are 
“a  few  Outlines  in  umber,  on  canvass,  whicli,  although  more 
“carefully  done,  should  not  be  considered  as  finished  Outlines, 
“since  they  were  intended  merely  as  a groundwork  on  wliich 
“ to  paint.  The  sizes  of  the  f gurcs,  in  the  different  composi- 
“tions,  vary,  from  tliat  of  life,  to  a few  inclics  in  length;  and 
“wliere  it  was  necessary  to  reduce  them  for  engraving,  the 
“daguerreotype  was  used,  by  wliicli  the  image  was  conveyed 
“to  tlic  engraver’s  plates,  ])repared  for  that  purpose,  and  there 
“fixed  hy  tracing  the  line  through  the  silver.  Boston,  January 
“1,  1850.” 


106 


ENGRAVINGS  AND  LITHOGRAPHS 


The  outlines  and  sketches  which  served  as  originals  for  the 
plates  in  this  book  are  now  in  the  Museum  of  Fine  Arts,  Boston, 
where  they  were  deposited  by  the  Dana  family. 

1.  Title-page  : Portrait  of  Allston. 

Profile  bust  of  Allston,  in  outline,  mostly  stippled,  facing  towards 
the  left,  enclosed  in  a circle  formed  of  several  delicate  lines.  Lettered, 
above : Outlines  & Sketches,  | by  | Washington  Allston.  Under- 
neath : Engraved  by  I.  [sic  !]  & S.  W.  Cheney.  | Boston.  ] 1850.  j 
Entered  according  to  Act  of  Congress,  in  the  year  1849,  by  Stephen 
H.  Perkins,  in  the  Clerk’s  Office  of  the  District  Court  of  the  District 
of  Massachusetts. 

Diameter  of  Circle  : 55  mm,  (2|".) 

Plate-mark  ; 302  X 223  mm.  (11^  X 8|A) 

2.  Michael  setting  the  Watch. 

A celestial  warrior,  standing,  seen  from  the  back,  turned  to  the 
right  and  pointing  in  the  same  direction  with  the  index  finger  of  his 
right  hand.  He  wears  a helmet  showing  three  pointed  projections. 
Outlines,  indicated  by  several  lines  running  nearly  parallel  to  one  an- 
otlier.  No  background.  Underneath  : Michael  setting  the  Watch.  | 
Paradise  Lost.  Book  IV.  | This,  and  the  five  following,  from  tracings 
in  chalk  on  gauze  made  by  Allston  | from  a composition  afterwards 
destroyed. 

Extreme  limits  of  work  ; 117  X 152  mm.  (4|  X 6".) 

Plate-mark:  231  X 298  mm.  (9|-X11|". ) 

Proofs. 

Before  the  lettering.  (M.  F.  A.) 

3.  From  “Michael  setting  the  Watch.” 

Nine  celestial  warriors,  all  but  one  only  partially  seen,  disposed  along 
a ridge  of  ground,  in  two  groups,  one  of  four  to  the  left,  the  other  of 
five  to  the  right.  The  largest  figure,  the  foremost  of  the  group  on 
the  left,  is  kneeling  and  pointing  downward  towards  the  right.  No 


EXECUTED  BY  J.  AND  S.  W.  CHENEY. 


107 


background.  Outlines  as  before.  Underneath:  From  “ Michael  set- 
ting the  Watch  ” | Xo.  2. 

Extreme  limits  of  work  ; 248  X 91  mm.  (9|  X ) 

Plate-mark:  296  X -31  mm.  (11|X9F'.) 


Proofs. 

Unfinished.  Of  the  group  to  the  left,  only  the  two  larger  figures  are 
seen.  (M.  F.  A.) 

4.  From  “Michael  setting  the  Watch.” 

Three  celestial  warriors,  rapidly  moving  towards  the  right.  The 
one  in  the  middle  is  bare-headed,  the  two  others  wear  helmets.  Xo 
background.  Outlines  as  before.  Underneath:  Ph-om  “ Michael  set- 
ting the  Watch”  | Xo.  3.  (This  and  the  following  are  printed  on 
one  sheet  in  the  book.) 

Extreme  limits  of  work  : 132  X 115  mm.  (oyg  X 4-^'.) 

Plate-mark  ; 164  X 208  mm.  X 


Proofs. 

Before  the  lettering.  (M.  F.  A.) 

5.  From  “ Michael  setting  the  Watch.” 

Two  celestial  warriors  standing,  seen  full  front.  The  group  forms 
an  inverted  pyramid,  emphasized  by  the  s}>ears  of  the  warriors.  Xo 
background.  Outlines  as  before.  Underneath  : Ph’om  “ .Michael 

.setting  the  Watch  ” | Xo.  4.  ('riiis  and  the  preceding  are  printed  on 
one  sheet  in  the  book.) 

Extremo  limits  of  woik  : 99  X 136  mm.  (3U  X ofi*".) 

Plate-mark:  164  X 209  mm.  (OfgXSF'.) 

6.  From  “ Michael  setting  the  Watch.” 

A celestial  warrior,  winged,  sc(m  almost  full  front,  somewh;it  turned 
towards  tlie  right,  walking  out  of  the  j)ictim'.  Wilh  a sword  lield  in 
Ids  right  hand  he  [)oints  toward.s  tin*  left.  Xo  background.  Outlines, 


108 


ENGRAVINGS  AND  LITHOGRAPHS 


as  before.  Underneath  : From  “ Michael  setting  the  Watch”  | No.  5. 
(This  and  the  following  are  printed  on  one  sheet  in  the  book.) 

Extreme  limits  of  work  : 95  X 104  mm.  (3U  X 4T^*) 

Plate-mark  : 164  X 210  mm.  X 8^%"-) 

7.  From  “Michael  setting  the  Watch.” 

Two  celestial  warriors,  seated  on  a hillock,  talking  to  one  another. 
No  background.  Outlines,  as  before.  Underneath:  From  “Michael 
setting  the  Watch  ” | No.  6.  (This  and  the  preceding  are  printed  on 
one  sheet  in  the  book.) 

Extreme  limits  of  work  ; 95  X 78  mm.  (3f  X 3jV'.) 

Plate-mark  164  X 210  mm.  (6^^  X 

8.  Sibyl. 

A woman  seated  on  a rock,  turned  somewhat  towards  the  right. 
She  leans  her  head  upon  her  left  hand.  In  her  right  she  holds  an 
instrument  for  writing,  in  her  lap  is  a scroll.  Background  of  rocks, 
water,  and  sky.  Eectangle  defined  by  lines.  Outlines,  as  before,  with 
slight  shading.  Underneath  : Sibyl.  | From  an  outline  in  chalk  on 
canvass.  Size  of  Life  | . 

Engraved  surface  : 139  X 1 94  mm.  (5^  X 7f". ) 

Plate-mark  : 160  X 214  mm.  (6j  X 8jY'-) 

9.  Dido  and  Anna. 

Two  women,  seated,  in  conversation,  in  the  atrium  of  an  antique 
house.  The  one  to  the  right  points  to  a tripod  which  stands  to  tlie 
right  of  her.  Background  of  columnar  architecture,  'with  part  of  a 
curtain  on  the  left.  To  the  right,  through  an  arched  opening,  an  out- 
look upon  a hill  with  a town  at  its  foot.  Rectangle  defined  by  lines. 
Outlines,  as  before.  Underneath  : Dido  and  Anna.  | A^neid.  Book 
IV.  I From  an  outline  in  umber  on  canvass  | Size  of  Life  | . 

Engraved  surface  : 159X217  mm.  (6|- X 8^^".) 

Plate-mark  : 208  X 291  mm.  (8,^  X llxV^*) 


EXECUTED  BY  J.  AND  S.  W.  CHENEY.' 


109 


10.  Figures  from  “ lacobs  Dream.” 

lu  the  upper  part  of  the  plate,  an  angel  flying,  hut  erect,  fronting 
the  spectator,  the  head  turned  suinewhat  to  the  rigid.  Of  the  feet 
part  only  of  the  left  foot  is  seen.  — In  the  lower  part,  a group  of  three 
figures,  of  larger  proportions,  about  halfdength.  The  figure  to  the 
right  is  seen  from  the  back,  with  part  of  the  right  arm  ; the  one  in 
the  middle,  an  angel  with  wdngs,  is  seen  in  profile,  and  showing  three 
fingers  of  one  hand.  Of  the  third  to  the  left  only  part  of  the  head  is 
seen,  in  nearly  full  front  view.  iXo  background.  Outlines,  as  before. 
Underneath  : Figures  from  “ lacobs  Dream.”  | Fac-simile  of  a Pen  & 
Ink  Drawing  on  tracing  paper,  made  by  i\Ir.  Allston  from  his  Original 
Painting. 

Extreme  limits  of  work  for  upper  figure  : 177  X 140  mm.  (6^1  X SP'.) 

Extreme  limits  of  work  for  lower  group  : 248  X 142  mm.  (9|  X op'.) 

Plate-mark  : 322  X 414  mm.  (12|  X 16p'. ) 

11.  Figures  from  “lacobs  Dream.” 

In  the  upper  leftdiand  corner  of  the  plate  a slight  outline  of  the 
whole  picture  of  “ Jacobs  Dream.”  Rectangle  defined  by  lines.  Un- 
derneath : Outline  of  the  whole  Picture  of  lacobs  Dream.  — In  the 
lower  part  of  the  plate  two  winged  angels  and  a figure  without  wings 
descending  a flight  of  steps.  One  of  the  angels  is  in  the  foreground  to 
the  left,  the  other  two  figures,  to  the  right  and  further  back,  are  M'alk- 
ing  hand  in  hand,  in  conversation.  Outlines,  as  before.  iXo  back- 
ground. Underneath  : Pdgures  from  “ lacobs  Dream.”  | Fac  simile 
of  a Pen  & Ink  Drawing  on  tracing  paper,  made  by  IMr.  Allston  from 
his  Original  Painting. 

Rectangle  in  up])er  ]>art  : 112  X 74  mm.  (4§  X -IP^-) 

Extreme  limits  of  work  in  lower  group  : 2:>8  X 229  mm.  (9§  X 9". ) 

Plate-mark  : 322  X 418  mm.  (12^  X IGiV'd 

[Mrs.  Fdnah  I).  Clieiic}''  has  the  tracing  on  a piece  of  gelatine  for  the 
small  outline  of  the  whole  picture.] 

12.  Figures  from  “lacobs  Dream.” 

♦ Two  angels,  winged,  fronting  tlie  spectator,  the  lu'ads  turned  towards 
the  right,  descending  a lliglit  of  steps,  d’ho  grouj)  forms  an  inverttul 


110 


ENGKAVINGS  AND  LITHOGRAPHS 


pyramid,  emphasized  by  tlie  wings.  Xo  background.  Outlines,  as 
before.  Underneath:  Figures  from  “Jacobs  Dream”  | Fac  simile  of 
a Pen  & Ink  Drawing  on  tracing  paper,  made  by  Mr.  Allston  from  his 
Original  Painting. 

Extreme  limits  of  work  : 271  X 302  mm.  {10-U  X 11^'^) 

Plate-mark  : 320  X 422  mm.  (12|  X 

13.  Figure  from  “lacobs  Bream.” 

An  angel,  winged,  standing,  turned  towards  the  left,  looking  down- 
ward, the  right  arm  raised  to  heaven.  Xo  background.  Outlines,  as 
before.  Underneath  : Figure  from  “lacobs  Dream.”  [ Fac-simile  of  a 
Pen  & Ink  Drawing  on  tracing  paper,  made  by  Mr.  Allston  from  his 
Original  Painting. 

Extreme  limits  of  work  : 232  X 373  mm.  (9jh  X 14|".) 

Plate-mark  : 318  X 418  mm.  (12j^  X ) 

14.  Uriel. 

A celestial  warrior  seated  on  the  ground,  looking  towards  the  right, 
his  left  arm  resting  on  a round  shield,  his  right  hand  holding  a spear. 
Xo  backoround.  Outlines,  as  before.  Underneath  : Uriel.  I Fac-simile 
of  a pen  and  ink  drawing  made  by  Allston  from  his  original  picture  of 
“ Uriel  in  the  sun  ” | . 

Extreme  limits  of  work  ; 200  X 209  mm.  (7|  X 8U-) 

Plate-mark  : 230  X 295  mm.  (9^^  X 111^-) 

15.  Heliodorus. 

The  interior  of  a temple  supported  on  columns,  in  the  background 
the  altar.  The  angel  as  a warrior  on  horseback,  still  in  the  air,  and 
descending  towards  the  right,  occupies  the  centre  of  the  composition. 
To  the  right  of  him  are  two  other  avenging  angels,  with  rods  in  their 
hands.  Heliodorus  has  fallen  upon  his  left  knee  in  the  right-hand  cor- 
ner in  the  foreground.  On  both  sides  the  spectators  flee  in  terror.  In 
the  middle  ground,  through  the  hind  legs  of  the  horse,  is  seen  a woman 
with  two  children.  Eectangle  defined  by  lines.  Outlines,  as  before. 


EXECUTED  BY  J.  AND  S.  W.  CHENEY. 


Ill 


but  very  broad,  with  sliglit  shading.  Underneath:  Ileliodorus.  | From 
a sketch  in  chalk  on  canvass  | II  Maccabees  24  to  27.  Size 

4 ft.  9 in  by  3 ft.  9 in. 

Engraved  surface  : 232  X 172  mm.  (9|-  X 6f".) 

Plate-mark  : 295  X 229  mm.  (llj\  X 9".) 

16.  Fairies  on  the  Sea  Shore. 

Ten  figures  ascending  from  the  sea-shore  on  the  left  below  in  a curved 
line  diagonally  to  the  upper  right.  The  two  lowest  figures  are  still  on 
the  ground.  Background  of  sea,  rocks,  and  sky.  Outlines  as  before. 
Bectangle  defined  bylines.  Underneath  : Pdiiries  on  the  Sea  Shore,  | 
Disappearing  at  Sun  rise.  [ From  a tracing  in  chalk  on  gauze  made  by 
Allston  from  his  original  design  on  canvass  afterwards  destroyed.  — The 
lower  part  of  the  picture  was  | intended  to  be  in  shadow,  the  light  of 
the  rising  sun  just  touching  the  upper  clouds  and  leading  figure  of 
the  fugitives.  | Size  4 ft  by  3 ft. 

Engraved  surface  : 239  X 183  mm.  (9^  X 7xV^0 

Plate-mark  : 298  X 230  mm.  (il|  X 9yV  .) 


Proofs. 

Unfinished,  before  the  lines  forming  the  rectangle,  apparently  only  the 
dry-point  lines  wdth  which  the  drawing  was  traced  through  the  silver 
coating  on  the  copper  plate.  (M.  F.  A.,  F.  AV.  C.) 

% 

17.  Titania’s  Court. 

Titania  is  seated  on  a grass  bank  on  the  hdt,  surrounded  by  lier  at- 
tendants, one  of  whom,  kneeling,  ofiers  her  on  a salver  a gol)let  in  the 
sliape  of  an  acorn.  Over  her  hover  two  genii,  with  ])uttertly  wings  as 
fans.  Before  her,  in  the  centni  of  the  composition,  a group  of  four 
dancers,  who  are  trying  to  liold  back  .another  gi-oup  of  two  dancers, 
whom  a genius  is  drawing  upward  with  a cliain  of  roses.  Otlu'r  dan- 
cers, on  tlie  ground  and  in  the  air,  in  tlu!  distama^  on  tlu'  right.  Hack- 
ground  of  forest,  with  a wattirfall  (Ui  tlu‘.  right.  Ih'ctangh^  (h'lined  by 
lines.  OutliiKjs,  as  before,  in  comhination  with  stipj)h'd  lim's.  Fmh'i- 
neath  : 4'itani.a’s  Court  Size,  (>  ft.  by  1 ft.  | 1^'rom  “ .Midsummer 

Nights  Dream.”  | (lutline  in  umlx'r  on  canvass  | 'I'his  Hietnre  was 


112 


ENGRAVINGS  AND  LITHOGRAPHS 


intended  to  be  a moonlight  scene.  — From  the  waterfall  on  the  right 
and  along  the  stream  which  finds  its  | way  to  the  foreground,  the 
fairies  are  hastening  to  join  the  dance  before  their  Queen. 

Engraved  surface  ; 366  X 240  mm.  X 9rV^*) 

Plate-mark:  419  X323  mm,  {16|X12|''^) 

Proofs. 

Not  quite  finished,  the  lines  forming  the  rectangle  only  faintly  indicated. 
(M.  F.  A.) 


18.  Girl  in  Male  Costume. 

A woman  in  fanciful,  close-fitting  costume,  wearing  a turban,  but 
barefooted,  reclines  on  a rock,  overhanging  a brook.  She  is  turned 
towards  the  right,  and  looks  down  into  the  water,  while  playing  the 
guitar.  Background  of  trees.  Rectangle  defined  by  lines.  The  figure 
outlines,  as  before,  with  slight  shading,  the  landscape  carried  some- 
what further.  Mostly  etching.  Underneath  : Girl  in  Male  Cos- 
tume. I From  a sketch  in  umber  on  canvass  Size  3 ft.  by  2 ft. 

4 in  I . 

Engraved  surface  : 119  X 154  mm.  (4^  X 

Plate-mark  ; 162  X 216  mm.  (6f  X 8^'-) 

19.  Ship  in  a Squall. 

In  the  middle  distance,  somewhat  to  the  left,  a ship  with  sails  partly 
furled,  standing  towards  the  right  foreground.  To  the  left  of  the  ship 
and  farther  away,  a smaller  craft,  sailing  towards  the  left.  Moderately 
agitated  sea,  clouded  sky,  with  indications  of  a rain-storm,  sweeping 
down  from  left  to  right,  in  the  distance  at  the  right.  Rectangle.  Im- 
itation of  a white  chalk  drawing  on  a dark  ground,  the  latter  produced 
by  a ruled  tint  laid  with  the  ruling-machine.  Underneath  : Ship  in  a 
squall.  I From  a sketch  in  white  chalk  on  dark  canvass  Size 

5 ft.  by  4 ft. 

Engraved  surface  ; 260  X 194  mm.  (10|  X 7|". ) 

Plate-mark  : 297  X 230  mm.  (lly^  X 


EXECUTED  BY  J.  AND  S.  W.  CHENEY. 


113 


Proofs. 

1.  Not  quite  finished.  (M.  F.  A.) 

2.  Apparently  finished,  but  before  the  cleaning  of  the  plate  margin. 

(F.  W.  C.) 

[The  impressions  in  the  book  are  printed  in  a brownish  ink.  The  proofs 
are  printed  in  black.] 


20.  The  Prodigal  Son. 

A man,  ■with  only  a cloth  around  his  loins  and  a strip  of  cloth  around 
his  head,  sitting,  with  eyes  closed,  on  the  ground,  his  feet  towards  the 
left,  his  back  leaning  against  a wall.  No  background.  Lithographic 
crayon  drawing.  Underneath  : The  Prodigal  Son.  | From  a pencil 
Sketch. 

Extreme  limits  of  the  drawing  : 213  X 142  mm.  (8|  X 

Proofs. 

Before  the  lettering,  on  India  paper.  (F.  W.  C.) 


21.  Prometheus, 

Prometheus  chained  to  a rock  by  the  sea,  which  is  indicated  to  the 
right.  The  head,  towards  the  left,  is  seen  in  violent  foreshortening. 
No  definite  outline.  Lithogra})hic  crayon  drawing.  Umlerneath  : 
Prometheus.  | From  a pencil  sketch. 

Extreme  limits  of  the  drawing  : 252  X 170  min.  (9[-g  X 0[^.") 


REJECTED  ESSAYS. 

Before  tbe  inetliod  to  be  adopted  for  the  e.xeeution  of  tin* 
})lates  in  tlie  Allston  book  was  delinitively  decidml  upon,  several 
essays  were  made  in  pure  eteliing,  wliiidi  were  rejected  as  nn- 

8 


114  ENGKAVINGS  AND  LITHOGRAPHS  BY  J.  AND  S.  W.  CHENEY. 


satisfactory.  Proofs  of  two  of  these  essays  have  been  preserved, 
and  are  described  below. 

22.  Figures  from  “Jacob’s  Dream.” 

Group  of  two  winged  angels  and  three  figures  without  wings,  left 
incomplete  below.  In  the  foreground  stands  an  angel  seen  from  the 
back,  with  wings  nearly  folded.  The  other  angel  is  on  the  right, 
turned  to  left,  with  only  one  wing  visible  in  profile.  On  the  left  is  a 
figure  without  wings,  in  profile,  turned  towards  the  right.  Of  the 
other  two  figures  not  much  more  is  seen  than  the  heads,  nearly  full 
front,  on  either  side  of  the  central  angel.  (M.  F.  A.,  E.  D.  C.) 

Extreme  limits  of  work  : 15.5  X 142  mm.  (6g  X 5|". ) 

Plate-mark  : ? X ? 


23.  Figures  from  “Jacob’s  Dream.” 

This  is  the  group  occupying  the  lower  part  of  the  plate  described 
as  No.  11,  but  of  larger  dimensions.  (M.  E.  A.) 

Extreme  limits  of  work  : 336  X 313  mm.  (13J  X 12|''.) 

Plate-mark  : 417  X 324  mm.  X 12|".) 


CLASSIFIED  FINDING  LIST. 

THE  NUMBERS  FOLLOWING  THE  TITLES  REFER  TO  THOSE  IN 

THE  PRECEDING  LISTS. 


I.  JOHN  CHENEY. 


A.  Engravings. 

I.  Vignettes,  i.  e.  without  distinctly  limited  backgrounds. 

1.  Female  heads  without  backgrounds. 

a.  Turned  to  right. 

Title  vignette.  No.  38. 
h.  Turned  to  left. 

Title  vignettes.  Nos.  50,  51. 

2.  Female  heads  icith  shading  in  the  background. 

a.  Turned  to  right,  head  only. 

Stuart’s  Martha  Wasliingtoii.  No,  4G. 

O 

b.  Turned  to  right,  head  and  one  liand. 

Title  vignette.  (My  Boyhood’s  Love.  — The  Poet 
Choice.  — Julia.)  No.  49. 

Viola.  No.  75. 

c.  Front  view  of  face. 

Annette.  No.  78. 

d.  Turned  to  left,  head  only. 

Title  vignettes.  Nos.  05,  73,  77. 

e.  Turned  to  left,  head  and  one  hand. 

Title  vignettes.  Nos.  53,  57,  85. 

Fanny  Kemble.  (Prances  Anne  Kemble.)  No.  40, 
The  Fair  Student.  (Incognita.)  No.  74. 

3.  M(de  head  ivithont  background. 

(Jeo.  I>.  Doane,  M.  I).  No.  70. 

Jf..  Male  heads  with  sha/ling  in  the  background. 

(!eo.  11.  Do.'UK',  M.  I),,  Proof  stall' of.  No.  7tf 
Ili'iiry  W . Longfi'llow.  No.  81. 

William  (hillen  Ihyant.  No.  80. 


118 


CLASSIFIED  FINDING  LIST. 


Fitz-Greene  Halleck.  No.  87, 

W.  E.  Chaimiiig,  after  Allston.  No.  89. 

W.  E.  Cbanning,  after  Gambarclella.  No.  90. 

L.  Gaylord  Clarke,  Late  state  of.  No.  98. 

5.  One  or  more  figures  with  backgrounds  ofi  landscape,  etc. 

Title  vignettes.  Nos,  20,  22. 

The  Portrait.  No.  21. 

The  Pirate.  No.  26. 

Vignettes  for  Cowper’s  “Task,”  etc.  Nos.  60,  61,  62,  63. 

II.  With  distinctly  limited  backgrounds. 

1.  Femcde  figures,  single,  up  to  three-quarter  length,  in  rectangles. 

a.  Background  light  machine-ruled  tint.  No  hands, 

Lydia  H.  Sigourney.  No.  93. 

Frances  Sargent  Osgood.  No.  94. 

Edith  May.  No.  97. 

Estelle  Anna  Lewis.  No.  99. 

b.  More  or  less  finished  backgrounds.  No  hands. 

The  Young  Princess.  (Amanda.)  No.  36. 

Esperanza.  (The  Bride.)  No.  44. 

c.  More  or  less  finished  backgrounds.  One  hand. 

Sibyl.  No,  23, 

Just  Sevenfeen.  No.  27. 

Lady  Reading.  (The  Portrait.  — The  Scrap  Book.) 
No.  55. 

The  Country  Girl.  (Maidenhood.)  No.  56. 

The  Lace  Cap.  (Eleonora.)  No.  67. 

Preciosa.  No.  80. 

d.  More  or  less  finished  backgrounds.  Two  hands. 

Lesbia.  No.  28. 

Why  dont  he  come.  No.  33. 

The  Cottage  Girl.  (Industry.)  No.  34. 

Beatrice.  (Dora  Hay.)  No.  39. 

The  Love  Letter.  (Mary.)  No.  43. 

WoolastoiTs  Martha  Washington.  No.  45. 

Isabella.  (Beatrice.)  No.  54. 

Dulcinea.  (The  Spanish  Maid.)  No.  58. 

The  Gipsy.  (The  Indian’s  Bride.)  No.  59. 
Florentine  Girl.  (Donna  Isabella.)  No.  68. 

The  Roman  Girl.  (The  Handmaid.)  No.  79. 
Maidenhood.  No.  82. 

Miss  E.  Leslie.  No.  84. 


JOHN  CHENEY. 


iiy 


2.  Female  figures^  single,  up  lo  three-quarter  length,  in  ovals,  sur- 

rounded,  in  the Jinished  state,  hg  rectangles. 

a.  Without  hands. 

A Portrait.  (Oh  that  those  lips  had  language.)  No.  30. 
Egeria.  (Kate.)  No.  66. 

Beatrice.  (Fair  Inez.)  No.  72. 
h.  With  one  hand. 

Agnes.  (The  Country  iNlaiden.)  No.  76. 

3.  Female  figure,  single,  three-quarter  length,  in  rectangle,  icith  the 

corners  cut  off. 

Helen.  (La  Jeune  Jaquette.  — Isabel.)  No.  48. 

J}..  Female  fgures,  single,  full  length. 

Dorothea.  (Bathing.  — The  Disguise.)  No.  42. 
Rellection.  (Night.)  No.  47. 

5.  Children,  single  fgures. 

The  Torn  Hat.  No.  25. 

Childhood.  (Alfred.  — Our  FathePs  Darling.)  No.  52. 

6.  Male  portraits  in  rectangles. 

a.  Background  light  machine-ruled  tint. 

N.  P.  AVillis.  No.  92. 

Edward  Everett.  No.  95. 

Joseph  Story.  No.  96. 
h.  ’\^dth  more  or  less  finished  backgrounds. 

B.  B.  Wisner.  No.  37. 

Daniel  Webster.  No.  83. 

Joshua  Bates.  No.  88. 

P.  T.  Jackson.  No.  91. 

L.  Gaylord  Clarke.  No.  98. 

7.  Two  figures. 

a.  Children,  only  ])artially  seen.  ^ 

The  Orphans.  No.  32. 
h.  Children,  full  length. 

Th(i  Lost  Children.  No.  24. 

c.  Women  and  le'uuidarv  beiims. 

d'il  l(‘-pag(i.  No.  1(). 

Mercy’s  Dream.  (The  Angtd  Visitor.)  No.  (54. 

d.  W'oman  and  child. 

( )r  lisps  with  holy  look,  eti-.  No.  5. 


120 


CLASSIFIED  FINDING  LIST. 


e.  Two  W omen. 

The  Seaman’s  Widow.  No,  17. 

/.  Woman  and  man. 

The  Lost,  Found.  No.  41. 
g.  Man  and  child. 

Old  Man  and  Child.  No.  31. 

8.  Three  or  more  figures. 

The  Soldier’s  Widow.  No.  15. 

Psyche  before  the  Tribunal  of  Venus.  No.  18. 
When  thou  passest  through  the  waters,  etc.  No.  19. 
Guardian  Angels.  (The  Orphan’s  Guard.)  No.  29. 
The  Dream  of  Youth.  No.  35. 

Orestes  supplicating  Apollo,  etc.  No.  69. 

9.  Monument. 

Monument  to  Dr.  Doane.  No.  71. 

III.  Bank-Note  Work. 

Nos.  100,  101,  102,  103. 

IV.  Eewards  of  Merit. 

Boys  playing  ball.  No.  2. 

Animals,  sheet  of  eight.  No.  4. 


V.  Trial  Plates. 

Nos.  1,  3. 

B.  Lithographs. 

1.  Vignette.  No  5*. 

2.  Landscapes.  Rectangles.  Nos.  11,  12. 

3.  Single  figures.  Rectangles.  Nos.  6,  9,  13,  14, 

4.  Several  figures.  Rectangles.  Nos.  7,  8,  10. 


II.  SETH  WELLS  CHENEY. 


All  the  following  are  engravings,  rectangular  in  form,  and  with  finished 
backgrounds. 

1.  Single  figures. 

The  Dead  Bird.  No.  1. 

The  Young  Savoyard.  No.  6. 

The  Invisible  Serenade r.  No.  5. 

[See  also  ‘‘  Bible  Illustrations.”  No.  7.1 

2.  Child  and  Dog. 

Tired  of  Play.  No.  3. 

S.  Tivo  or  more  figures. 

AVidow  and  Orphan.  No.  2. 

The  Dead  Soldier.  (The  Soldier’s  AATfe.)  No.  4. 

The  Pilot’s  Boy.  (The  AVreck.)  No.  8. 

The  Alother.  No.  9. 

Going  to  Battle.  (The  Sister’s  Farewell. — The  Young 
AATirrior.)  No.  10. 

[See  also  “Bible  Illustrations.”  No.  7.] 


m.  OUTLINES  AND  SKETCPIES 


BY  WASHINGTON  ALLSTON. 

ENGRAVED  BY  JOHN  AND  SETII  WELLS  CHENEY. 


♦ 


A.  Engravings. 

I.  Without  definite  limits. 

1.  One  jig  are. 

Michael  setting  the  Watch.  No.  2. 

From  “ Michael  setting  the  Watch.”  No.  6. 

Figure  from  “ Jacob’s  Dream.”  No.  13. 

' Uriel.  No.  14. 

2.  Two  figures. 

From  “ Michael  setting  the  Watch.”  No.  5. 

From  “Michael  setting  the  'Watch.”  No.  7. 

Figures  from  “ Jacob’s  Dream.”  No.  12. 

3.  Three  figures. 

From  “ Michael  setting  the  Watch.”  No.  4. 

Figures  from  “Jacob’s  Dream.”  No.  11,  lower  part. 
Fiofures  from  “ Jacob’s  Dream.”  No.  23. 

J^..  More  than  three  figures. 

From  “ Michael  setting  the  Watch.”  No.  3. 

Figures  from  “Jacob’s  Dream.”  No.  10. 

Figures  from  “ Jacob’s  Dream.”  No.  22. 

II.  Rectangles  defined  by  lines. 

1.  One  figure. 

Sibyl.  No.  8. 

Girl  in  Male  Costume.  No.  18. 


OUTLINES  AND  SKETCHES. 


123 


2.  Two  figures. 

Dido  and  Anna.  No.  9. 

3.  Many  figures. 

Outline  of  “ Jacob’s  Dream.”  No.  11,  upper  part, 
Heliodorus.  No.  15. 

Fairies  on  the  Sea  Shore.  No,  16. 

Titania’s  Court.  No.  17. 

J.  Marine. 

Ship  in  a Squall.  No.  19. 

III.  In  a circle. 

Portrait  of  W.  Allston.  No.  1. 

B.  Lithographs. 

The  Prodigal  Son.  No.  20. 

Prometheus.  No.  21, 


LISTS 


OF 


EXGRAVERS  ASSOCIATED  WITH  JOHN  CIIEXEY,  ARTISTS 
WHOSE  WORKS  JOHX  AND  SETH  WELLS 
CHEXEY  REPRODUCED,  AXD  POR- 
TRAITS EXGRAVED  BY 
JOHX  CHEXEY. 


ENGRAVERS. 


127 


EXGEAYEES 

WHOSE  NAMES  APPEAR  AS  ASSOCIATES  OF  JOHN  CHENEY  ON  PLATES 
ENUMERATED  IN  THIS  CATALOGUE. 


The  numbers  following  each  name  are  those  of  the  plates  on  which  this  name 
appears,  with  reference  to  the  corresponding  numbers  in  the  list  of  engravings, 
etc.,  pp.  17-96. 


Armstrong,  W.  G. 
No.  93. 

Dodson,  E.  W. 

Nos.  67,  83. 
Kellogg,  J.  G. 

No.  45. 


Kimberly,  D. 

No.  90. 
Pease,  J.  I. 
No.  82. 


128 


PAINTERS,  SCULPTORS,  ETC. 


PAINTERS,  SCULPTORS,  DESIGNERS,  ENGRAVERS, 
AND  LITHOGRAPHERS, 

WHOSE  WORKS  WERE  REPRODUCED  BY  J.  AND  S.  W.  CHENEY,  SO  FAR 

AS  THEY  ARE  KNOWN. 


The  nunihers  following  each  artist’s  name  are  those  of  the  plates  after  him, 
with  reference  to  the  corresponding  nuiubers  in  the  list  of  engravings,  etc., 
pp.  17-114. 


I.  JOHN  CHENEY. 


Alexander,  F. 

Nos.  37,  38. 

Allston,  Washington. 

Nos.  39,  89.  — See  also  “ Out- 
lines and  Sketches,”  p.  105 
etc. 

Badger  (Thomas  or  S.?  A portrait- 
painter  of  the  first  name  ex- 
hibited at  the  AthenEEum  in 
1830  and  1832.  Another 
portnait-painter,  to  wdiom  the 
second  appellation  is  given, 
exhibited  there  in  1834.) 

No.  70. 

Branston,  Robert  Allen. 

No.  19. 

Cary,  A. 

No.  71. 

Chalon,  A.  E. 

No.  48. 

Cheney,  Seth  Wells. 

Nos.  65,  74,  75,  81,  86. 

Cook,  H.  (?) 

No.  51. 


Cosway,  R. 

Nos.  13,  14. 

Cousins,  Samuel. 

Nos.  21,  27. 

Cummings,  Thos.  Sears. 

No.  44. 

De  Franca,  M.  J. 

No.  55. 

Edgar. 

Nos.  11,  12. 

Edwards,  J.  C. 

No.  47. 

Elliott,  C.  L. 

Nos.  87,  98,  99. 

Flaxman,  John. 

No.  69. 

Fragonard.  (Probably  Alexandre 
Evariste,  1781-1850,  the 
son  of  Jean  Honore  ) 
Nos.  16,  18. 

Franqueliii,  Jean  Augustin. 

No.  17. 

Freeman,  G. 

No.  93. 


JOHN  CHENEY. 


129 


Furness,  Jr.,  W.  II. 

No.  97. 

Gainsborough,  Thomas. 

No.  32. 

Gambardella,  S. 

No.  90. 

Gilbert,  John. 

Nos.  60,  61,  62,  63. 
Goodyear,  Joseph. 

No.  42. 

Graham,  G.  (?) 

No.  28. 

Guerin  (Pierre  Narcisse  ?). 

No.  35. 

Guido  Reni. 

No.  23. 

Healy,  G.  P.  A. 

No.  91. 

Heath,  Charles. 

No.  102. 

Hodges,  C.  II.  (?) 

No.  29. 

Houston,  Richard.  (?) 

No.  28. 

Howard,  H. 

No.  9. 

Huntington,  Daniel. 

Nos.  64,  68,  72,  79,  80,  82. 
Inman,  H. 

No.  22. 

Landseer,  E. 

No.  34. 

Lane,  Richard  J. 

No.  32. 

Lawrence,  S. 

No.  92. 

Lawren(;e,  Sir  Thomas. 

Nos.  21,  27. 

Leonardo  da  Vinci. 

No.  103. 
lieslie,  C.  R. 

Nos.  30  (33  ?),  41,  58,  102. 
Leulzo,  E. 

No.  85. 


Malbone,  E. 

Nos.  66,  78. 

Middleton,  J,  G. 

No.  42. 

Naysmith,  A. 

No.  26. 

Osgood,  S.  S. 

No.  94. 

Page,  W. 

No.  76. 

Parris,  E.  T. 

No.  51. 

Reni,  Guido. 

No.  23. 

Reynolds,  Sir  Joshua. 

Nos.  28,  29. 

Schefler,  A. 

Nos.  15,  24. 

Sharpe,  Miss  Louise  (or  Eliza  ?). 

No.  47. 

Staigg,  R.  M. 

Nos.  83,  95. 

Story,  W.  W. 

Vo.  96. 

Stuart,  Gilbert. 

Nos.  46,  77. 

Sully,  Thomas. 

Nos.  25,  40, 43,  49,  52,  53,54, 
56,  57,  59,  67,  73,  84,  101. 
Thurston,  John. 

Nos.  19,  20. 

Vallou  de  Villeneuve,  J. 

No.  17. 

Vinci,  Leonardo  da. 

No.  103. 

Watson,  J.  (?) 

No.  28. 

West,  W.  E. 

xNo.  88. 

West  all,  P. 

No.  5. 

Williams,  P. 

No.  50. 

Woolaston,  .lolni. 

No.  -15. 


9 


130 


PAINTERS,  SCULPTORS,  ETC. 


II.  SETH  WELLS  CHENEY. 


Allston,  Washington. 

No.  9.  — See  also  “ Outlines 
and  Sketches,”  p.  105  etc. 
Brown,  George  Loring. 

No.  8. 

Childs,  G. 

No.  3. 

Corbonld,  H. 

Nos.  3,  10. 


Johannot,  Tony  (?). 

No.  6. 

Bolls,  Chs. 

No.  10. 

Wright,  J. 

No.  4. 

Wright,  J.  M. 

No.  5. 


PORTRAITS, 


131 


POETEAITS 

ENGRAVED  BY  JOHN  CHENEY. 


Appleton,  Miss  Hetty  S.  — See  Viola,  No.  75. 

Bates,  Joshua.  — No.  88. 

Bleecker,  Mrs.  — See  Egeria,  No.  66,  and  Annette,  No.  78. 
Blodgett,  Mrs.  Samuel.  — See  Title  Vignette,  No.  77. 

Bryant,  Win.  Cullen.  — No.  86. 

Butler,  Frances  Anne.  — See  Fanny  Kemble,  No.  40. 
Camuccini,  Miss.  — See  Title  Vignette,  No.  65. 

Castle,  Mrs.  — See  Esperanza,  No.  44. 

Channing,  Win.  E.  — Nos.  89,  90. 

Clark,  L.  Gaylord.  — No.  98. 

Coddington,  Mrs.  — See  Beatrice,  No.  72. 

Collier  (Collyer),  Mrs.  — See  Lesbia,  No.  28. 

Cook,  Miss.  — See  The  Country  Girl,  No.  56. 

Coolidge,  Mrs.  T.  Jefferson. — See  'Viola,  No.  75. 

Crocker,  Miss.  — See  Just  Seventeen,  No.  27. 

Doane,  George  B.,  M.  D.  — No.  70. 

Drinker,  Anna.  — See  Edith  May,  No.  97. 

Dunning,  Master.  — See  Guardian  Angels,  No.  29. 

Ehvyn,  Rev.  Alfred  Langdon.  — See  Childhood,  Nos.  52,  101. 
Everett,  Edward.  — No.  95. 

Gardner,  Miss  Sarali  Russell.  — See  The  Fair  Student,  No.  74. 
Gray,  Mrs.  Horace.  — See  The  Fair  Student,  No.  74. 

Guynn  (Gwyn,  Gwynn),  Miss.  — See  Lesbia,  No.  28. 
Halleck,  Fitz-Greene. — No.  87. 

Inman,  Mi.ss.  — See  Beatrice,  No.  72. 

Jackson,  P.  T.  — No.  91. 

Kemble,  Fanny.  — No.  40. 

Kemble,  Frances  Anne.  — See  Fanny  Kemble,  No.  40. 
Knower,  Miss.  — See  Agnes,  No.  76. 

Lambton,  Master.  — See  The  Portrait,  No.  21. 

Leslie,  Mi.ss  E. — No.  81. 

[fjewis,  Belly.  — S(>e  Martha  Jlhishington,  No.  45  ] 

Lewis,  Estelle  Anna. — No.  99. 


132 


PORTRAITS  ENGRAVED  BY  JOHN  CHENEY. 


Longfellow,  Henry  W.  — No.  81. 

May,  Edith.  — No.  97. 

Osgood,  Frances  Sargent.  — No.  94. 

Shaw,  Miss  Anna.  — See  Title  Vignette,  No.  38. 
Sigourney,  Lydia  H.  — No.  93. 

Smith,  Miss  Rebecca.  — See  Title  Vignette,  No.  77. 
Story,  Joseph.  — No.  96. 

Sully,  Miss  Blanche.  — See  Title  Vignettes,  Nos.  53,  57. 
Washington,  Martha.  — Nos.  45,  46. 

Webster,  Daniel.  — No.  83. 

Willis,  N.  P.  — No.  92. 

Wisner,  B.  B No.  37. 


Allston,  Washington.  — On  the  title-page  of  Outlines  and  Sketches 
by  Washington  Allston,”  engraved  by  J.  & S.  W.  Cheney. 
See  p.  106  of  this  catalogue. 


LIST  OF  BOOKS,  ETC. 


CONTAINING  ENGRAVINGS  AND  LITHOGRAPHS  BY  JOHN  AND 

SETH  WELLS  CHENEY. 


The  following  list  does  not  pretend  to  satisfy  all  the  demands  of 
the  bibliographer.  It  has  been  compiled  f(n'  the  benefit  of  the 
collector  of  engravings,  and  aims  only  to  give  such  information  as 
may  be  useful  to  him.  Xor  does  it  lay  any  claim  to  completeness, 
as  has  been  pointed  out  already  in  the  Introduction.  Most  of  the 
books  here  enumerated  have  engraved  titles  as  well  as  titles  printed 
from  type.  Wherever  possible,  the  latter  have  been  given.  The 
numbers  following  the  titles  are  those  of  the  plates  contained  in 
each  book,  with  reference  to  the  corresponding  numbers  in  the  list 
of  engravings  etc.,  pp.  17-104. 


I.  JOHN  CHENEY. 


Album.  New  York  : Peabody  & Co.  1832.  No.  22.  — All  I have  seen 
of  this  book  is  its  engraved  title-page,  of  which  there  is  an  impression 
in  the  Phillips  Collection. 

Allston,  Washington,  Outlines  and  Sketches.  Boston  : 1850,  — See  p.  105 
of  this  catalogue. 

American  Review,  The,  A Whig  Journal  of  Politics,  Art  and  Science. 
Vol.  IV.  New-York  : George  H.  Colton.  1846.  No.  83. 

Annuals.  SeeAIhwn;  Casket  or  YoutVs  Pocket  Library ; Christian  Keep- 
sake; Coral;  Friendships  Offering;  Gift;  Juvenile  Souvenir ; Lady's 
Cabinet  Album;  Ladies'’  Scrap-Book;  Lily;  Literary  Souvenir;  Mag- 
nolia; Memorial ; Moss  Rose ; Religious  Souvenir;  Remember!  ; Token; 
Token  of  Friendship  ; Token  or  Affection's  Gift ; Youth's  Keepsake. 

Atlantic  Souvenir.  See  Token,  The,  for  1833,  1834,  1835,  1836,  1837, 
1838,  1840. — The  “Atlantic  Souvenir,”  during  its  separate  existence, 
before  it  was  combined  with  “ The  Token,”  does  not  seem  to  have  used 
any  plates  by  eitlier  of  the  Clieneys. 

Bayly,  Thomas  Haynes,  Songs  and  Ballads,  Grave  and  Gay,  with  a me- 
moir of  the  author.  Philadelpliia  : Carey  & Hart.  1844.  No.  66. 

Bible,  The  Holy.  Auburn  : Alden  & Beardsley.  [N.  d ] Nos.  10, 
20.  — Judging  from  these  ])lates,  which  are  all  I have  seen  of  the  book, 
it  appears  to  have  been  a 12mo.  O’Callaghan,  “A  list  of  editions  of 
the  Holy  Scri])tures  and  ]>arts  thereof,  printed  in  America  previous  to 
1860,”  records  the  following  title  : “ Holy  Bible  : Auburn  and  Roches- 
ter, N.  Y.  : Alden  & Beardsley.  1855.  12.  Engr.  front,  and  title  to 

O.  T.  . . This  may  possibly  be  the  volume.  Concerning  an  earlier 
edition  or  editions,  b}^  another  publisher,  see  under  No.  20,  in  the  List 
of  Engravings,  etc. 

Bryant,  Wm.  CuI)LEN,  Poems  by.  Wuth  illustrations  by  E.  Leut/.e.  Ihi- 
graved  by  American  artists.  Philadelphia  : (Hrey  A Hart.  1847.  Nos. 
85,86.  — According  to  Sabin,  “ Dictionary,”  the  (!th  I'dition  is  dated 
1850,  published  by  A.  Hart.  The  latest  T have  seen  is  the  4th,  1848, 
])ubli8hed,  like  the  preceding  ones,  by  Carey  & Hart. 


136 


LIST  OF  BOOKS,  ETC. 


Butler,  Frances  Anne,  Poems.  Philadelphia  : John  Penington.  1844. 
iNo.  40. 

Buttre,  J.  C.,  Catalogue  of  Engravings.  New  York.  J.  C.  Buttre.  No, 
22.  — There  are  several  editions  of  this  catalogue,  differently  dated,  the 
latest  1887. 

Campbell,  Thomas,  The  poetical  works  of.  Boston:  1827.  No.  5. — 
There  is  a “ New  edition  ’’  of  this  volume,  “ Boston  : Published  by  Mon- 
roe and  Francis.  1832,”  containing  “ The  Pleasures  of  Hope,  Gertrude 
of  Wyoming,  Theodoric,  and  other  poems,  written  at  different  periods 
from  the  year  1799  to  1832,”  which  is  the  only  one  I have  seen.  But 
as  the  frontispiece  is  dated  1827,  it  would  seem  that  the  first  edition 
must  be  of  that  date. 

Campbell,  Thomas,  Specimens  of  the  British  Poets,  Philadelphia  : Henry 
Carey  Baird.  1853,  No,  82.  — According  to  the  title-page,  this  is  a 
“ New  edition  but  from  the  “Advertisement”  it  appears  that  there  is 
no  earlier  American  edition,  the  original  English  edition  being  consid- 
ered the  first. 

Casket,  The.  Philadelphia:  S.  C.  Atkinson.  No.  39  (and  No.  28  ?). — 
The  titles  of  this  periodical,  generally  known  as  “ Atkinson’s  Casket,” 
vary  somewhat  with  the  different  volumes.  No.  39  is  in  the  volume 
for  1837.  No.  28  would  seem  to  have  been  published  in  the  same 
periodical,  but  I have  not  been  able  to  find  it  in  the  volumes  for  1827, 
1828,  1830-1837,  which  are  all  I have  seen  (in  the  library  of  the  Hist. 
Soc.  of  Penns.).  According  to  Sabin,  “Dictionary,”  “The  Casket” 
was  published  from  1826-1838.  (See  also  S.  W.  Cheney.) 

Casket,  The.  Boston  : Bowles  and  Dearborn.  1829,  No,  21. 

Casket,  The,  or  Youth’s  Pocket  Library.  Boston : George  Davidson. 
1830.  No.  21.  — This,  according  to  the  title-page,  is  a “ Third  edition 
— improved.”  The  first  edition  is  the  book  described  in  the  preceding 
paragraph.  The  only  copy  of  this  “ third  edition  ” which  I have  seen, 
was  stamped  1831  on  the  back  of  the  binding,  although  dated  1830. 

Christian  Keepsake,  Tpie,  and  Missionary  Annual,  Philadelphia : 
Win.  Marshall  & Co.  1838:  No.  4H . — 1839 : No.  50.  (See  also 
S.  W.  Cheney.) — 18^0:  No.  55.  — The  volume  for  1838  is  the  first. 
Vol.  2,  for  1839,  has  also  the  imprint  of  Sherman  & Trevett,  New 
York. 

Coral,  The,  a gift  for  all  seasons.  Illustrated  with  eight  beautiful  steel 
engravings.  New  York:  Cornish,  Lamport  & Co.  [N.  d.]  No.  27. 

CowPER,  Wm.,  The  Task  and  Other  Poems.  With  numerous  illustrations, 
engraved  by  Cheney,  Cushman,  etc.  From  drawings  by  John  Gilbert, 
Philadelphia  : Carey  & Hart.  1842.  Nos.  60-63. 

Croly,  Kev.  George,  The  Beauties  of  the  British  Poets,  with  a few 


JOHN  CHENEY. 


137 


introductory  observations.  New-York  ; Edward  Kearney,  272  Pearl 
Street. Piercy  & Keed,  Printers.  [X.  d.]  Xos.  30,  36. 

Everett,  Edward,  Orations  and  Speeches  on  Various  Occasions.  Boston  : 
Charles  C.  Little  & James  Brown.  1850.  Tol.  I.  Xo.  95.  — The  first 
edition,  in  one  vol.,  is  dated  1836,  and  is,  of  course,  without  the 
portrait.  The  edition  of  1850  is  called  the  second.  The  latest  edition, 
up  to  date,  is  the  eleventh,  of  1886,  Boston  : Little,  Brown  & Co. 
According  to  Sabin,  “ Dictionary,”  300  copies  on  large  paper  were 
published,  but  it  is  not  stated  of  what  edition. 

Friendship’s  Offering.  I84I  : Philadelphia.  Marshall,  'Williams  & 
Butler.  Xos.  47,  50. — 18J^2 : Boston.  E.  Littlefield  ; Philadelphia. 
Thomas,  Cowperthwait  & Co.  Xo.  55.  — Later  volumes,  published  in 
Boston,  Philadelphia,  and  Xew  York,  under  the  title  ; Friendship’s 
Offering:  A Christmas,  Xew  Year  and  Birthday  Present”  (1846  to 
1856),  contain  no  plates  by  Cheney.  The  volume  for  1841  is  evidently 
the  first,  as  the  preface  seeks  to  excuse  “the  addition  of  another  to  the 
list  ” of  annuals. 

Gift,  The,  A Christmas  and  Xew  Year’s  Present.  Philadelphia  : E.  L. 
Carey  & A.  Plart.  [From  1840  : Carey  &:  Hart.]  1836:  Xo.  40. — 
1837:  Nos.  42,  A‘3.  — 1839 : X'os.  48,  49.  — Xos.  52,  53,  54. 
(Ee-issue  zvithout  date,  same  illustrations.)  — 1842 : Xos.  56,  57,  58,  59. — 
18Jf3  : Xos.  64,  65,  66,  67,  68.  (Re-issue  zcithout  date,  same  illustra- 
tions.) — ; Xos.  72,  73,  74,  1b.  — 1845;  Xos.  76,  77,  78,  79. 

(Ee-issue  zcithout  date:  Xos.  64,  68,  72,  75,  76,  78,  79.) — The  first 
volume  of  “ The  Gift”  is  that  for  1836.  I have  seen  no  volumes  for 
1838  and  1841.  The  volumes  of  “ The  Gift  ” vary  iu  size,  and  most 
of  them  seem  to  have  been  published  in  two  sizes.  At  the  back  of  the 
volume  for  1837  appears  the  following  announcement  : “ A few 
copies  of  ‘ The  Gift  for  1837,’  have  been  printed  in  octavo,  with  proof- 
plate.s,  splendidly  bound  iu  calf  super  extra.”  I have,  however,  seen 
only  the  volume  for  1842  in  the  two  sizes.  Of  the  volumes  which 
passed  through  my  hands  those  for  1836,  1837,  and  1839  measured 
from  95  X Ihh  to  102  X 166  mm.  (3f  X 6^  to  4 X 6.^V')  i ^810,  18-42 
(small  sizf;),  and  1843,  about  120  X 181  mm.  (4-^  X 7|”)  ; 1842  (large 
size),  1844,  and  1845,  from  138  X iB8  to  148  X 23  4 mm.  (5^’^,.  X 8[’  to 
5||  X The  (juality  of  the  ])a{)er  on  which  the  plates  were 

printed  seems  likewise  to  diller.  ’The  impressions  in  the  volumes 
which  came  under  my  obscu’vat ion  were,  indeed,  all  ])iinted  on  fairly 
lieavy  tinted  paper,  but  there  are  also  other  imprc'ssions,  evidently 
torn  from  “Gifts,”  printed  on  a thinii(*r,  whit(>  ])aper.  Of  the  undatial 
re-issu(;s,  I have  seem  only  the  three  enunu'rated  above,  bn*  it  is  ijuite 
likedy  that  still  others  exist.  A copy  of  the  re-issue  for  18-15  in  my 


138 


LIST  OF  BOOKS,  ETC. 


possession,  although  without  date  on  the  title-page,  is  stamped  1845  on 
the  back. 

Godey’s  Lady’s  Book.  Philadelphia  : Louis  A.  Godey.  1839  (Vol.  19)  : 
No.  4Z.—1840  (Vol.  20)  : No.  42.  — 18J^6  (Vol.  32)  : No.  84.  — The 
titles  of  the  magazine  vary.  Of  the  volumes  here  named  19  is  called 
“ The  Lady’s  Book,”  20  “ Godey’s  Lady’s  Book  and  Ladies’  American 
Magazine,”  32  “ Godey’s  Magazine  and  Lady’s  Book.” 

Gray,  Thomas,  Elegy  written  in  a Country  Church-Yard.  Boston:  Moses 
A.  Dow,  Waverley  Magazine  Office  ; New  York:  Dexter  & Brother. 
[N.  d.]  No.  83.  — The  book  has  a dedication,  as  follows:  “To  the 
Memory  of  Daniel  AYebster  this  edition  of  His  Favorite  Poem  is 
respectfully  inscribed.”  It  follows  that  it  must  have  been  published 
after  Mr.  Webster’s  death,  which  occurred  in  1852. 

Griswold,  Rufus  Wilmot,  The  Female  Poets  of  America.  Philadelphia: 
Carey  & Hart.  1849.  Nos.  76,  77,  79.  — According  to  Sabin,  “Dic- 
tionary,” the  edition  of  1849  is  illustrated  by  portraits.  The  printed 
“ List  of  Illustrations,”  however,  plainly  shows  that  this  is  not  the 
case.  The  same  authority  records  a 2d  edition,  Phil. : Henry  C. 
Baird,  1853,  and  a “ new  edition,”  Phil. : 1859,  but  no  mention  is  made 
of  illustrations.  I have  not  seen  them. 

Griswold,  Rufus  Wilmot,  The  Poets  and  Poetry  of  America.  Philadel- 
phia : Carey  &;  Hart.  1843.  Nos.  54,  56,  58,  59. — According  to  the 
title-page  this  is  a “ Third  edition,  revised,  with  illustrations,”  which 
would  seem  to  show  that  the  earlier  editions  had  no  illustrations.  The 
copyright  is  dated  1842.  The  later  editions,  of  which  the  17th,  accord- 
ing to  Sabin’s  “ Dictionary,”  is  dated  1856,  are  illustrated  by  portraits, 
none  of  which  are  by  Cheney.  Of  these  later  editions  I have  seen  only 
the  16th,  published  in  Philadelphia  by  Parry  & McMillan,  in  1855. 

Griswold,  Rufus  Wilmot,  The  Poets  and  Poetry  of  England,  in  the 
Nineteenth  Century.  Philadelphia:  Carey  & Hart.  1845.  Nos.  64, 
72,  74,  75.  — There  is  said  to  be  also  an  edition  of  1846,  but  I have 
not  seen  it. 

Halleck,  Fitz-Greene,  The  Poetical  Works  of.  Now  first  collected. 
Illustrated  with  steel  engravings,  from  drawings  bv  American  artists. 
New  York  : D.  Appleton  & Co.  ; Philadelphia  : Geo.  S.  Appleton. 
1847.  No.  87. — Messrs.  D.  Appleton  & Co.  kindly  write  to  me  as 
follows  concerning  the  editions  of  this  book  : “ The  steel  by  John 
Cheney,  after  Elliott,  was  used  in  Halleck,  Poems,  12“."  edn.,  copy- 
righted 1868.  The  preface  also  bears  that  date.  A large  paper  edition 
was  made  at  the  same  time,  limited  to  150  copies,  each  copy  numbered, 
in  which  the  above-mentioned  steel  was  also  used.  Another  steel,  by 
Hall,  was  used  in  the  ‘Blue  and  Gold  edn.’  and  in  the  ‘Life  and 
Letters.’  ” 


JOHN  CHENEY. 


139 


Hewitt,  Mary  E.  [Editor],  The  Memorial  : written  by  Friends  of  the  late 
Mrs.  Osgood.  With  illustrations  engraved  on  steel  by  J.  Cheney, 
J.  Halpiii,  J.  I.  Pease,  and  H.  Beckwith.  New-York  ; George  P. 
Putnam.  1851.  No.  94. 

Homes  of  American  Authors;  comprising  anecdotal,  personal,  and 
descriptive  sketches  by  various  writers.  Illustrated.  New  York  ; 
G.  P.  Putnam  & Co.  1853.  No.  95. 

Hunt,  Freeman,  Lives  of  American  Merchants.  Yol.  I.  New  York  ; 

Office  of  Hunt’s  Merchants’  Mau:azine.  1856.  No.  91. 

Juvenile  Souvenir,  The.  Boston  ; Marsh  & Capen  and  John  Putnam. 
1828.  Nos.  5.G  6,  7,  8. 

Knickerbocker  Gallery,  The.  A testimonial  to  the  editor  of  the 
Knickerbocker  Magazine  from  its  contributors.  With  forty-eight  por- 
traits on  steel,  from  original  pictures  engraved  expressly  for  this  work. 
New  York:  Samuel  Hueston.  1855.  No.  98. 

Knickerbocker,  The,  or  New-York  Monthly  Magazine.  Yol.  41.  New- 
York  : S.  Hueston.  1853.  No.  98. 

Ladies’  Scrap-Book,  The.  Hartford:  S.  Andrus  & Son.  1845.  No.  55. 
— There  is  an  undated  edition  of  this  book,  which,  according  to  Em- 
bellishments,” should  also  contain  No.  55,  as  the  frontispiece,  but  it 
is  replaced  by  a lithograph  of  roses,  hand-colored. 

Lady’s  Cabinet  Album,  The.  New-York  : Peabody  & Co.  1832.  Nos. 
23,  24. 

Lady’s  Cabinet  Album,  The.  New  York  : E.  Sands.  1835.  Nos. 
23,  24. 

Lady’s  Cabinet  Album,  The.  New  York  : Published  for  the  Booksellers. 
[N.  d.]  Nos.  22,  23,  24.  — An  inconi])lete  coi>y  in  my  possession  has 
the  following  stamped  U|)on  the  back  of  the  binding  : Lady’s  Album  | N. 
York  I 1842  | . But  another  coj)y  that  I have  seen  was  without  any 
date.  The  three  issues  of  “The  Lady’s  Cabinet  Album,”  for  1832, 
1835,  and  without  date,  are  identical  as  to  literary  matter. 

Lewis,  Estelle  Anna,  Records  of  the  Heart,  and  Other  Poems.  Illus- 
trated by  American  Artists.  New  York  : I).  A])[)leton  A Co.  1857. 
No.  99. — In  another  edition  of  this  book,  London  and  New  York  : 
1865,  the  portrait  by  Clieney  has  been  replaced  by  another,  engraved 
by  Henry  Allard  from  a ])hotogra])h. 

Ihly,  d’liE,  A Holiday  Present.  AVith  embellishments.  New  York  : 
E.  S;inds.  [N.  d.]  Nos.  27,  34. — All  the  copies  I liave  seen  are 
stamj)ed  on  the  back  of  the  binding  : Lily  | 183!)  | . 'bhe  copyright, 
dat(!d  Nov.  17,  1830,  is  for  “ 4’he  Lily,  a (’oloured  Annual,  lor 
MDCCCXXXI,”  but  the  book  cannot  have  been  published  at  that 
time,  as  the  Cheney  engraving.  No.  34,  appeared  originally  in  “The 
Token  ” for  1 835. 


140 


LIST  OF  BOOKS,  ETC. 


Liter  iRY  Souvenir,  The,  A Christmas  and  New  Year’s  Present.  Phila- 
delphia ; E.  L.  Carey  & A.  Hart.  (1844  and  1845  : Carey  &;  Hart.) 
1838:  Nos.  4.-I,  iZ.  — 18^0 : Nos.  48,  49.  — ; Nos.  48,  57. —45.^5 

Nos.  49,  52,  67.  — I have  not  seen  the  volumes  for  1839,  1841,  1842, 
1843. 

Longfellow,  Henry  Wadsworth,  Poems  by.  With  illustrations  by 
D.  Huntington.  Philadelphia  : Carey  & Plart.  1845.  Nos.  80,  81, 
82.  — There  are  at  least  nine  editions  of  this  book.  Of  these  I have 
seeu,  besides  the  first  : 2d,  1846  ; 4th,  1846  ; 5th,  1847  (all  Phil.  : 
Carey  & Hart)  ; 9th,  1851  (Phil.  : Henry  C.  Baird).  The  second 
and  following  editions  read,  after  “D.  Huntington”:  “Engraved  by 
American  artists.” 

Lowell,  John  A.,  Memoir  of  Patrick  Tracy  Jackson.  Written  for  the 
Merchants’  Magazine  and  Commercial  Review.  New  York  : Press  of 
Hunt’s  Merchants’  Magazine.  1848.  No.  91. 

Magnolia,  The,  for  1837.  New  York  : Bancroft  & Holley.  No.  44. 

May,  Edith,  Poems  by.  Elegantly  illustrated  by  Cheney,  Devereux, 
Greatbach,  etc.  Philadelphia  : E.  H.  Butler  & Co.  1852.  No.  97. 

Memoir  of  George  B.  Doane,  M.  D.  Nos.  70,  71.  — An  8vo  pamphlet 
of  8 pp.  and  cover,  but  without  regular  title-page.  See  List  of  Engrav- 
ings, etc  , under  No.  70. 

Memoir  of  ATilliam  Ellery  Channing,  with  extracts  from  his  corre- 
spondence and  manuscripts.  In  three  volumes.  Boston  : Wm.  Crosby 
& H.  P.  Nicliols  ; London  : John  Chapman.  1848.  Vol.  I : No.  89. 
— Yol.  II  : No.  90.  — There  are  at  least  six  editions  of  this  work,  the 
5th  and  6th  both  dated  1851.  (Sabin,  “ Dictionary,”  gives  the  date  of 
the  6th  ed.  1854,  but  a volume  of  this  edition  in  the  Boston  Public 
Library  is  plainly  dated  1851.) 

Memorial,  The,  A Christinas,  New  Year’s  and  Easter  Offering  for  1828. 
Boston  : True  & Greene  and  Richardson  & Lord.  Nos.  10,  11,  12. 

Merchants’  Magazine,  The,  and  Commercial  Review.  Conducted  by 
Freeman  Hunt.  Yol.  18.  New  York  : 1848.  No.  91. 

Missionary  PIerald,  The.  Vol.  32.  Boston  : 1836.  No.  37. 

Moss  Rose,  The,  or  an  annual  gift.  New  York  : Nafis  & Cornish.  [N.  d.] 
Nos.  23,  24.  — Tliis  is  simply  a re-issue  of  “ The  Lady’s  Cabinet  Album,” 
with  changed  title.  According  to  “ Embellishments,”  it  ought  to  con- 
tain Nos.  23  and  24  ; but  in  the  only  copy  of  the  book  which  I have 
seen,  they  are  lacking,  without  any  evidence  of  having  been  torn  out. 
As  other  plates  are  also  wanting,  while  there  are  several  which  are  not 
mentioned  under  “ Embellishments,”  it  is  somewhat  doubtful  whether 
they  were  ever  inserted.  The  book  is  therefore  mentioned  with  a 
question-mark  in  the  List  of  Engravings. 


JOHN  CHENEY. 


- 141 


National  Portrait  Gallery,  The,  of  distinguished  Americans.  Xos. 
95,  96.  — In  the  original  edition,  1834-1839,  in  lour  volumes,  there  are 
as  yet  no  plates  by  Cheney.  The  later  issues,  published  under  a copy- 
right taken  out  in  1852,  in  three  volumes,  vary  as  to  Cheney  plates. 
The  Boston  Public  Library  has  a set,  of  which  ^'olumes  I,  II  and  III 
are  dated  1854,  and  Vol.  lY  1852.  In  Yol.  1 (Phil.  : D.  Bice  & 
A.  N.  Hart),  is  the  Everett  portrait,  with  the  |)ublishers’  imprint.  The 
Story  portrait  in  Vol.  Ill,  is  by  Parker,  after  Harding.  The  State 
Library,  at  the  State  House,  Boston,  has  a set  in  four  volumes,  all  Phil. : 
D.  Bice  & A.  N.  Hart,  1854,  with  the  Cheney  “Everett”  in  Yol.  I, 
and  the  Cheney  “ Story  ” in  Yol.  Ill,  both  without  publishers’  address. 
Of  the  still  later  issue,  under  a copyright  taken  out  in  1868,  I have 
seen  sets  of  which  the  tirst  volume  was  dated  1872  (Phil.  : D.  Bice  &; 
Co.),  while  Yols.  II  and  III  (Phil.  : D.  Bice  & Co.,  and  also  Bice,  But- 
ter & Co.)  were  undated.  In  these  sets  the  “Everett  ” is  in  Yol.  T, 
the  “Story”  in  Vol.  Ill,  both  without  imprint.  I have  also  seen  the 
same  issue,  made  up  into  four  volumes,  with  the  needed  changes  on  the 
title-pages  in  pencil,  and  the  “ Story”  in  Yol.  lY,  the  “ Everett,”  as 
before,  in  Yol.  I. 

New  England  Quarterly  Journal,  The,  of  Medicine  and  Surgery. 
Yol.  I.  Boston;  D.  Clapp,  Jr.  1843.  No.  70. 

Norton,  The  Hon*''®-  Mrs.,  The  Dream,  and  Other  Poems.  Philadelphia: 
Carey  & Hart.  1841.  No.  49. 

Osgood,  Frances  Sargent,  Poems  by.  Illustrated  by  Huntington,  Bar- 
ley, Bossiter,  Cushman,  and  Osgood.  Philadelphia  ; Carey  & Hart. 
1850.  No.  94.  — In  a later  edition,  New  York  : Biker,  Thorne  & Co., 
■without  date,  the  portrait  by  John  Cheney  has  been  re}>laced  by  an 
inferior  copy  by  G.  J.  Anderton. 

Pioneer,  The,  A Literary  and  Critical  Magazine.  Yol.  I.  Boston: 
Leland  & Whiting.  1843.  No.  69. — This  is  the  magazine  edited 
by  James  Bussell  Lowell  and  B..  Carter,  of  which  only  three  num- 
bers (January,  February,  March)  a])peared. 

Pollock,  Bobert,  The  Course  of  Time,  a poem  in  ten  books.  Ydth  a 
sketch  of  the  life  of  the  author.  New-York  : C.  Wells.  [N.  il.] 
No.  29. 

Beligtous  Souvenir,  The.  Hartford:  S.  Andrus  & Son. 

ivithout  dale:  No.  51. — These  three  volumes  are  essentially  the 
same.  On  the  title-page  of  the  one  without  dat(',  thei-i>  has  bi'en 
added,  after  “Souvenir”  : “ for  Christmas  and  New- Year';  Presents.’’ 

Beme.mfjer  ! A Keepsake.  New  York  : Geo.  A.  liea\  itt.  [N.  d.] 
No.  51. 

Sigourney,  Mrs.  L.  H.,  Illustrated  Poems  by.  With  designs  by  Fcli.x 


142 


LIST  OF  BOOKS,  ETC. 


0.  C.  Darley,  engraved  by  American  artists.  Philadelphia : Carey 
& Hart.  1849.  No.  93.- — There  is  a “New  edition”  of  this  book, 
Phil.  : Parry  & McMillan,  1854,  in  which  there  is  an  inferior  coj3y 
of  the  portrait  by  Cheney  and  Armstrong,  but  attributed  to  them  in 
the  “ List  of  Illustrations.” 

Sparks,  Jared,  The  Life  of  George  Washington.  Boston:  Ferdinand 
Andrews.  1839.  Nos.  45,  46.  — There  are  at  least  three  later  issues 
of  this  work  : ISJfS  (Boston  : Tappan  & Dennett),  which  contains  only 
No.  45  ; 18Ifi  (Boston  : Charles  Tappan),  with  both  45  and  46,  and 
1860  (Boston  : Little,  Brown  & Co.),  with  again  only  No.  45. 

Sparks,  Jared,  The  Writings  of  George  Washington.  Boston  : Ameri- 
can Stationers’  Company.  John  B.  Russell.  1837.  Vol.  I:  No.  45  ; 
Vol.  XII  : No.  46.  — Vols.  II  to  XI  of  this  edition,  issued  by  other 
publishers,  are  dated  1834,  1835,  and  1836.  There  are  at  least  two 
other  editions  of  this  work,  of  the  first  of  which  (Boston  : Ferdinand 
Andrews,  etc.)  Vols.  I and  XII  are  dated  1838^  while  the  dates  for 
the  rest  of  the  volumes  again  go  back  as  far  as  1834.  The  second 
(Boston  : Little,  Brown  & Co.)  is  dated  1855.  In  both  of  these  edi- 
tions the  yJates  are  ■without  publisher’s  name. 

Story,  Joseph,  Life  and  Letters  of,  Associate  Justice  of  the  Supreme  Court 
of  the  United  States,  and  Dane  Professor  of  Law  at  Harvard  Univer- 
sity. Edited  by  his  son,  William  W.  Story.  Vol.  I.  Boston  : 
Charles  C.  Little  & James  Brown.  1851.  No.  96. 

Token  op  Friendship.  New'  York  ; Leavitt  & Allen.  [N.  d.]  No.  34. 
(See  also  S.  W.  Cheney.)  — There  are  other  volumes  with  similar 
titles  (The  T.  of  F.  ; a gift  book  for  the  holidays.  Boston ; 
Charles  H.  Peirce  1851,  and  The  T.  of  F.  : An  offering  for  all  sea- 
sons. Boston  : Phillips,  Sampson,  & Co.,  N.  d.),  but  they  contain 
no  Cheneys. 

Token,  The,  A Christmas  and  New'  Year’s  present.  Boston.  1828:  S. 
G.  Goodrich.  No.  15. — 1829:  S.  G.  Goodrich.  Nos.  16,  17,  18. 
1830:  Carter  & Hendee.  Nos.  22,  23,  2A.—1831:  Gray  & Bowen. 
No  27.  — 1832 : Gray  & Bowen.  No.  28.  (See  also  S.  W.  Chene}'.) 

Token,  The,  and  Atlantic  Souvenir,  A Christmas  and  New  Year's 
Present.  Boston.  1833:  Gray  & Bowen.  Nos.  29,  30. — 1834- : 
Charles  Bowen.  Nos.  32,  33. — 1835:  Charles  Bowen.  Nos.  31, 
35,  36. — 1836:  Charles  Bowen.  Nos.  38,  39.  (See  also  S.  "W. 
Cheney.) — 1837:  Charles  Bowen.  No.  41.  (See  also  S.  W. 

Cheney.)  — 1838:  American  Stationers’  Company.  No.  45. — I84O : 
Otis,  Broaders,  & Co.  No.  51.  — The  first  volume  of  “ The  Token” 
is  that  of  1828,  and  the  publication  w'as  continued  uninterruptedly 
(from  1833  as  “The  Token  and  Atlantic  Souvenir”)  until  1840. 


JOHN  CHENEY. 


143 


The  volume  for  1839  has  no  Cheneys.  I do  not  know  whether  there 
is  a volume  for  1841.  There  is  one  for  184:^  (The  Token  and  Atlan- 
tic Souvenir,  an  offering  for  Christmas  and  New  Year.  Uoston  : 
David  H.  Williams),  and  another  for  1845  (issued  in  New  York), 
hut  they  contain  no  Cheneys. 

Token,  The,  or  Affection’s  Gift,  a Christmas  and  Ne\\  Year’s  Present. 
New-York  ; Ansel  Edwards.  [N.  d.]  No.  44.  — This  seems  to  be  a 
continuation  of  the  series  described  under  the  preceding  headings,  as 
it  is  edited  by  S.  G.  Goodrich,  the  editor  of  most  of  the  earlier  volumes. 
The  only  copy  I have  seen  was  stamped  1840  on  the  back  of  the 
binding. 

^Vaverley  Novels.  Yolume  23.  The  Pirate.  In  two  volumes.  I.  Par- 
ker’s Edition.  Boston;  Samuel  II.  Parker.  1831.  No.  26.  — There 
is  a cheaper  issue  of  this  edition,  not  containing  the  frontispieces.  Yol. 
23  of  this  issue  is  dated  1832. 

^Yebster,  Daniel,  The  Diplomatic  and  Official  Papers  of,  while  Secretary 
of  State.  New  York  : Harper  & Brothers.  1848.  No.  83. 

Willis,  N.  P.,  Poems  of  Early  and  After  T ears  l)y.  Illustrated  by  E, 
Leutze.  Philadelphia  : Carey  & Hart.  1848.  No.  92. 

Youth’s  Keepsake  ; A Christmas  and  New  Year’s  Gift  for  Young  People. 
Boston:  Carter  & Hendee.  1830.  No.  25. — I have  seen  only  the 
volumes  for  1830  and  1831.  (See  S.  W.  Cheney.) 


II.  SETH  WELLS  CHENEY. 


Allston,  WAvSHINGTon,  Outlines  & Sketcheso  Boston  : 1850.  — See  p.  105 
of  this  catalogue. 

Annuals.  See  Christian  Keepsake ; Gift  of  Friendship ; Religious  Keep- 
sake; Religious  Offering;  Remember  me;  Token;  Token  of  Friend- 
ship ; Youtlds  Keepsake. 

Atlantic  Souvenir.  See : Token,  The,  for  1836,  1837. 

Casket  (Atkinson’s).  Philadelphia  : Samuel  C.  Atkinson.  No.  5 (1833)  ; 
No.  4 (183f)  ; No.  8 (?).  — (See  under  John  Cheney.  What  is  said 
of  No.  28  there,  applies  to  No.  8 here.) 

Christian  Keepsake,  The,  and  I\Iissionary  Annual.  Philadelphia  : Win. 
Marshall  & Co.;  New  York  : Sherman  & Trevett.  1839.  No.  10. 
(See  also  John  Cheney.) 

Comprehensive  Commentary  op  the  Holy  Bible,  The.  Edited  by  Eev. 
William  Jenks,  D.  D.  Six  volumes,  by  various  publishers,  Brattleboro’ 
and  Boston.  1834-1838.  No.  7. 

Gift  op  Friendship,  The,  A Token  of  Bememlwance,  for  1848.  Philadel- 
phia : Henry  F.  Aimers.  No.  4. 

Hemans,  Mrs.  Felicia,  The  Poetical  Works  of.  New  edition.  Philadel- 
phia : Grigg,  Elliot  & Co.  1848.  No.  8.  — The  copyright  is  dated 
1835.  According  to  the  “Advertisement,”  the  first  issue  contained 
also  the  poetry  of  Heber  and  Pollock.  In  this  volume  there  are  no 
Cheney  plates.  As,  however,  the  “Advertisement”  itself  is  dated 
1840,  there  must  have  been  an  issue  of  that  date,  but  I have  not  seen 
it,  A later  edition,  Phil.  : Lippincott,  Grambo  & Co.,  1851,  also  con- 
tains No.  8. 

Peterson’s  Magazine.  Philadelphia.  No.  8. —I  have  not  been  able  to 
find  the  volume  in  which  the  print  in  question  appeared,  as  none  of 
the  libraries  to  which  I had  access  possessed  the  earlier  volumes  of  this 
magazine.  Quite  likely  it  contains  other  Cheney  plates,  but  presum- 
ably in  late  states. 


SETH  WELLS  CHENEY. 


U5 


Religious  Keepsake,  The,  for  Holiday  Presents.  Hartford  : S.  Andrus 
& Son.  1846.  No.  10. 

Religious  Offering,  The.  Philadelphia  : Win.  Marshall  & Co.  1840. 
No.  10. 

Remember  me.  The,  A token  of  Love,  for  1851.  Philadelphia  ; Henry  F. 
Aimers.  No.  4. 

Token  of  Friendship.  New  York  : Leavitt  & Allen.  [N.  d.]  No.  10. 
(See  also  John  Cheney.) 

"token,  The.  Boston.  1833:  Nos.  4,5.-1836:  No.  8.— 1837:  No.  9. 
(See  also  John  Cheney.) 

Youth’s  Keepsake  ; A Christmas  and  New  Year’s  Gift  for  Young  People. 
Boston:  Carter  & Hendee.  1831.  No.  3. 


10 


ALPHABETICAL  LIST 


OF  THE 


WORKS  OF  JOHN  AND  SETH  WELLS  CHENEY. 


I.  JOHN  CHENEY. 


No.  in  Cat. 

Agnes.  W.  Page 7G 

Alfred.  — See  Childhood  . 52 

Amanda.  — See  The  Young  Princess 36 

Angel  Visitor,  The.  — See  Mercy  s Bream 6d 

Annette.  Malbone 7S 

Bates,  Joshua.  W.  E.  JFesf 88 

Bathing. — See  Dorothea . 42 

Beatrice.  TP.  Allston  39 

“ — See  Isabella 54 

“ B.  Huntington 72 

Blcnuerhassetts  Island.  Edgar 11 

Bride,  The.  — See  Esperanza 44 

‘‘  “ C.  R.  Leslie 102 

“ Indian’s. — See  The  Gipsy 59 

Broken  Heart,  The 10 

Brvant,Williani  Cullen.  A.  IP.  Cheney 86 

Channing,  W.  E.  Washington  Allston 89 

“ Wm.  E.  S.  Gambardella 90 

Childhood.  T.  Gully 52,  101 

Clark,  L.  Gaylord.  C.  L.  Elliott 98 

Cottage  Girl,  The.  E.  Landseer 3 1 

Country  Girl,  The.  1\  Sully 56 

Country  Maiden,  The.  — SeeAgn.es 70 

Devotion.  R.  Cosway 13 

Disguise,  The. — See  Dorothea 42 

Doano,  Geo.  B.,  M.  D.  Badger 70 

“ Moinument  to  Dr.  A.  Cary 71 


150 


ALPHABETICAL  LIST. 


No.  in  Cat. 

Donna  Isabella.  — See  Florentine  Girl 68 

Dora  Hay.  — See  Beatrice 39 

Dorothea.  /.  G.  Middleton 42 

Dream  of  Youth,  The.  Guerin 35 

Dulcinea.  C.  R.  Leslie 58 

Egeria.  F.  Malbone . 66 

Eleonora.  — See  The  Lace  Cap 67 

Esperanza.  Cummings 44 

Everett,  Edward.  R.  M.  Staigg 95 

Fair  Inez.  — See  Beatrice 72 

[Fair  Pilgrim,  The.  G.  Ij.  Brown See  Note,  p.  96] 

Pair  Student,  The.  S.  IF.  Cheneg 74 

Florentine  Girl.  B.  Huntington 68 

Genius  with  a Diadem  of  Stars.  Leonardo  da  Vinci 103 

Gipsey  Girl,  Tlie.  //.  Howard 9 

Gipsy,  The.  T.  Sullg 59 

Guardian  Angels.  Sir  Joshua  Reynolds 29 

Ilalleck,  Eitz-Greene.  C.  Z.  Elliott  87 

Handmaid,  The.  — Sec  The  Roman  Girl 79 

Happy  Family,  The 8 

Hay,  Dora.  — Beatrice  39 

Helen.  A.  E.  Chalon 48 

Incognita.  — See  The  Fair  Student 74 

Indian’s  Pride,  The.  — See  The  Gipsy 59 

Industry.  — See  The  Cottage  Girl 34 

Isabel.  — See  Llelen 48 

Isabella.  T.  Sully  54 

“ , Donna.  — See  Florentine  Girl 68 

Jackson,  P.  T.  G.  P.  A.  Jlealy 91 

Jaqiiette,  La  Jeune.  — See  LJelcn 48 

Julia.  — See  Title  Vignette 49 

Just  Seventeen.  Sir  Thos.  Lawrence 27 

Kate.  — See  Egeria 66 

Kemble,  Fanny.  T.  Sully 40 

“ Frances  Anne.  — See  Fanny  Kemble  ........  40 


JOHN  CHENEY. 


151 


Lace  Cap,  The.  T.  Sully  . . . . 

Lady  Heading.  M.  J.  Be  Franca 

Lesbia.  Sir  J.  Reynolds 

Leslie,  Miss  E.  T.  Sally  . . . . 

Lewis,  Estelle  Anna.  C.  L.  Elliott 
Lion  Monkey.  Trial  Plate  . . . . 

Little  Irish  Girl,  The 

Longfellow,  Henry  W.  S.  JF.  Cheney 
Lost  Children,  The.  A.  Scheffer  . 
Lost,  Found,  The.  C.  R.  Leslie  . . 

Love  Letter,  The.  T.  Sully  . . . 


No.  m Cat. 

. 07 

55 

. 28 
. 81 
. 99 

3 
7 

. 81 
. 24 

. 41 

. 43 


Maidenhood.  — See  The  Country  Girl 50 

“ B.  Hunthigton 82 

Mary.  — See  The  Love  Letter • . 43 

May,  Edith.  W.  II.  Furness,  jr 97 

Mercy’s  Dream.  B.  Huntington 04 

Mohawk,  On  the.  Edgar 12 

Monument  to  Dr.  Doane.  A.  Cary  71 

My  Boyhood’s  Love.  — See  Title  Vignette 49 


Night.  — See  Reflection 


47 


Oh  that  those  Lips  had  Language  ! — See  A Portrait  . . . 

Old  Man  and  Child 

Orestes  supplicating  Apollo  for  Purification.  Flaxman  . . 

“ Or  lisps  with  holy  look  his  Evening  Prayer.”  R.  IVestall  . 

Orphan,  The  

Orplian’s  Guard,  The.  — See  Guardian  Angels 

Or^thans,  The.  Gainshorough 

Osgood,  Frances  Sargent.  S.  S.  Osgood 

Our  Father’s  Darling.  — '^cc,  Childhood  ........ 


30 

31 
69 

5 

6 

29 

32 
91 
52 


Pirate,  The.  A.  Naysmith 

Poet’s  Choice,  The.  — Title  Fignette  . . . 

Portrait,  A.  Leslie 

“ 4'hc.  T.  Lawrence 

“ “ — See  Lady  Reading  .... 

Preciosa.  B.  Huntington 

Princess,  Ohio  Yonng 

Psyche  before  the  fi'ribnnal  of  Venns.  Fragonard 


. 26 
. 49 

. 30 

. 21 
55 

. 80 
36,  100 
. 18 


152 


ALPHABETICAL  LIST. 


No.  in  Cat. 


Reflection.  Miss  Sharpe  «...  47 

Reward  of  Merit 2 

Rewards  of  Merit,  A Sheet  of  Eight  . . * 4 

Roman  Girl,  The.  D.  Huntington 79 


Seaman’s  Widow,  The.  Franquelin 

Scrap  Book,  The.  — See  Laclg  Reading 

Sibyl.  Guido  Reni 

Sigourney,  Lydia  H.  G.  Freeman 

Soldier’s  Widow,  The.  Scheffer 

Spanish  Maid,  The.  — See  Diilcinea 

Story,  Joseph.  JF.  JF.  Storg 

Study.  R.  Cosioag 

Title-page.  Fragonard.  (Token,  1S29.) 

Title  Vignette.  (Juvenile  Souvenir,  1828.) 

“ Thurston.  (Bible,  1829  ?)....... 

“ H.  Inman.  (Token,  1830,  etc  ) 

“ F.  Alexander.  (Token,  1836.) 

“ T.  Sullg.  (Gift,  1839,  etc.) 

“ F.  Williams.  (Christian  Keepsake,  1839,  etc.) 

“ (Token,  1840,  etc.) 

T.  Sulh/.  (Gift,  1840.) 

“ T.  Sullg.  (Gift,  1842,  etc.) 

V W.  Cheneg.  (Gift,  1843.) 

“ T.  Sullg.  (Gift,  1844.) 

“ G.  Stuart.  (Gift,  1845,  etc.) 

“ F.  Leutze.  (Bryant’s  Poems,  1847-) 

Torn  Hat,  The.  T.  Sullg 

Trial  Plate,  Early 

“ “ Lion  Monkey 


17 

55 

23 

93 

15 
58 
96 
14 

16 
5« 
20 
22 
38 

49 

50 

51 
53 
57 
65 
73 
77 
85 
25 

1 

3 


Vignettes,  Pour,  for  Cowper’s  “ Task,”  etc.  John  Gilbert  ....  60-63 

Viola.  *S'.  W.  Cheneg  75 

Washington,  IMartha.  Woolaston  45 

“ “ Stuart  46 

Webster,  Daniel.  R.  M.  Staigg S3 

“ When  thou  passes!  through  the  waters.”  Thurston 19 

Why  dont  he  come 33 

Willis,  N.  P.  S.  Lawrence 92 

Wisner,  B.  B.  F.  Alexander 37 

Young  Princess,  The ....  36,  100 


II.  SETH  WELLS  CHENEY. 


Bible  Illustrations  

Dead  Bird,  The  ......  • • • . . 

Dead  Soldier,  The.  /.  Wright 

Going  to  Battle.  II.  Corhould 

Invisible  Serenader,  The.  J.  M.  Wright 

Mother,  The.  W.  Allston 

Pilot’s  Boy,  The.  G.  L.  Brown  

Sister’s  Farewell,  The.  — See  Going  to  Battle 

Soldier’s  Wife,  The.  — See  The  Bead  Soldier , . 

Tired  of  Play.  II.  Corhould  

Widow  and  Orphans 

Wreck,  The.  — See  The  Pilot's  Bog 

Young  Savoyard,  The  

Young  Warrior,  The.  — Sec  Going  to  Battle 


No.  in  Cat. 

7 

I 

4 

, 10 


Q 


8 

. 10 

4 

3 

2 

8 

6 

. 10 


III.  OUTLINES  AND  SKETCHES 

BY  WASHINGTON  ALLSTON, 

ENGRAVED  BY 

JOHN  AND  SETH  WELLS  CEIENEY. 


No.  in  Cat. 

Allston,  Waslihigton,  Portrait  of 1 

Dido  and  Anna 9 

Dairies  on  the  Sea-sliore . . 16 

Girl  in  Alale  Costume 18 

Heliodoriis 15 

Jacob’s  Dream,  Figure  from 13 

“ “ Figures  from 10,  11,  12,  22,  23 

“ “ Outline  of  the  whole  picture 11 

Michael  setting  the  Watch 2 

“ “ “ “ , From 3,  4,  5,  G,  7 

Prodigal  Son,  The  . . 20 

Prometheus 21 

Ship  in  a Squall 19 

Sibyl 8 

Titania’s  Court  . . 17 


Uriel  . 


14 


APPENDIX. 

LETTEPtS  BY  JOHN  CHENEY  IN  THE  POSSP:SSION  OF 
ME.  CILVRLES  HENRY  HART,  OF 
PHILADELPHIA. 


* 


APPENDIX. 


LETTERS  BY  JOHN  CHENEY. 


I. 

Boston  April  28  1835 

Dear  Sirs 

I send  you  a proof  at  last  — although  I am  sorry  to  have  you  see  it  in 
such  an  unfinished  state  — I have  not  been  able  to  get  it  done  as  soon  as  1 
intended  — is  it  absolutely  necessary  that  you  should  have  it  about  the  first 
of  Mav  1 I should  like  to  work  at  it  a week  or  so  longer  if  it  would  not  put 
you  to  much  inconvenience  — please  write  & tell  me  how  much  time  you 
can  allow  me — I have  no  doubt  but  that  I can  finish  it  in  a week  but  if  you 
can  allow  a little  more  time  just  as  well  as  not  it  will  be  so  much  the  better 
done 

I have  not  arranged  the  outskirts  of  the  vignette  yet  — if  anything  strikes 

you  as  going  on  wrong  please  to  tell  me  plainly  what  you  think 

I shall  be  pleased  to  engrave  1 or  2 plates  for  you  next  year  — but  we 
will  see  how  this  one  is  done  first — - 

Have  you  any  objection  that  the  picture  of  Miss  Kemble  should  be  exhib- 
ited here  ? 


Yours  very  truly 


I.  Cheney 


[The  letter  is  addressed  to  Messrs.  Carey  & Hart,  the  well-known  pub- 
lishing house  of  Philadelphia.  The  portrait  of  Fanny  Kemble,  mentioned 
in  this  and  the  two  succeeding  letters,  is  tlie  one  by  Sully,  which  appeared  in 
“ The  Gift,”  for  1836.  See  No.  40  of  this  catalogue,] 


II. 


Boston  ]\ray  11  1835 

Dear  Sirs 

I send  you  another  proof — T believe  it  is  a good  (h'al  improved  — 1 
should  like  however  to  do  something  more  to  it  yet  cant  you  spare  the  time  / 


158 


APPENDIX. 


if  you  can  & will  get  Mr  Sully  to  touch  the  proof  & advise  me  again  I shall 
be  able  to  improve  it  very  much 

I have  reed  [?]  the  engraving  you  mention  & think  it  a most  beautiful 
thing  I will  try  to  find  time  to  copy  it  — please  tell  me  how  soon  you  wish 


it  done 

the  impression  I send  may  get  injured  — 

Yours  truly 


as  it  is  just  now  taken 

I.  Cheney. 


[Below  this  is  the  following  correspondence  in  pencil:] 


Dear  Sir 

Will  you  return  me  this  before  3 Oclock 

Yr  truly 

ELC 


May  19 

I have  done  what  I could  to  the  proof — It  is  improved  from  the  first  he 
sent  you 

T Sully 

[Addressed  to  Messrs.  Carey  & Hart,  Pliiladelphia.  This  address  crossed 
out  and  “ Mr.  Sully  ” substituted  in  pencil.] 


III. 

Boston  ]\Iay 1835 

Tuesday  evening 

Dear  Sirs 

I have  sent  the  picture  by  the  Brig  Echo  Capt.  Clark  which  sails  on  Sun- 
day I believe A the  ])hite  I shall  send  to  morrow  by  Mr  Ilillborn  who 

will  arrive  at  Phil,  on  Saturday  I thought  you  would  get  it  sooner  by  this 
conveyance  than  by  the  packet 

I dont  know  as  you  will  like  the  ]date  I cant  say  that  I do  very  well  — 
but  think  I should  not  be  able  to  improve  it  much  now — If  you  & 
Mr  Sully  should  still  think  it  wants  a little  something  & will  get  some 
engraver  to  alter  it  I shall  be  perfectly  will  [sic]  to  have  it  done  & will 
pay  the  expense. 

Will  2 months  & a half  or  3 months  be  soon  enough  for  the  other  plate  ? 

Yours  very  truly 

lohn  Cheney 

If  you  take  any  impressions  on  India  paper  it  should  be  the  whitest  that 
can  be  procured 


[Addressed  to  Messrs.  Carey  & Hart,  Philadelphia.  Stamped  Boston, 
May  26.] 


LETTERS  BY  JOHN  CHENEY. 


159 


IV. 


Boston  Sept 1835 

Monday  night 


Dear  Sirs 

I send  the  plate  of  Dorothea  by  Mr  Sparks  who  goes  to  N.  York  tomor- 
row — & he  will  send  it  immediately  on  to  you  from  there  if  he  can  find  a 
good  opportunity  — if  not  you  will  receive  it  by  him  the  last  of  the  week 

When  the  plate  is  lettered  I wish  — after  the  painters  name  — 

this  to  be  put  on  — Eng.  by  I.  Cheney  from  Goodyear 

I believe  that  I must  ask  you  250  dols.  for  the  plate  & will  it  be  conve- 
nient to  pay  me  soon  for  the  two  plates  ? I should  like  the  money  for  one 

of  them  immediately  & the  other  as  soon  as  possible 

I have  attended  to  Mr  Sully’s  request  the  Exhibition  will  close  this 
week  — I wish  you  to  delay  sending  the  other  picture  — as  it  is  possible 
that  1 may  go  to  the  South  this  winter  — at  all  events  I shall  not  be  able  to 

begin  your  plate  before  the  first  of  Nov. 

I like  your  book  very  well  — I think  however  that  some  of  the  subjects 
are  not  well  selected  — if  you  intend  to  copy  prints  for  your  next  I think 
that  I might  manage  to  get  you  a good  plate  done  here  by  a young  engraver 
— who  is  not  yet  hnown  — 1 will  engage  that  he  will  please  you  he 

assisted  me  very  essentially  in  the  plate  I send 

Yours  very  truly 


I Cheney 


[Written  in  pencil.  Addressed  in  ink  to  Messrs.  Carey  & Hart  Phih,  To 
left  of  address,  in  pencil : I.  Sparks  Esq.  The  plate  mentioned,  ‘‘  Dorothea,” 
appeared  in  “ The  Gift,”  for  1837.] 


V. 


Boston  Nov.  1 1835 


Dear  Sirs 

By  my  brother  I send  the  Engraving  of  ^‘Dorothea”  — it  is  a little  in- 
jured — for  which  I am  very  sorry I have  seen  La  Pensce 

— it  is  a pleasing  thing  & well  engraved  — but  it  seems  to  me  that  the  head 
is  not  well  drawn  — & unless  you  can  find  nothing  better — I think  it  will 
not  be  worth  while  to  copy  it  — the  head  is  certainly  not  right  — cant  you 
find  something  else  ? — I have  not  seen  anything  here  except  just  now  I 
saw  a small  mezzotiiito  print  by  Nicholas  it  is  a girl  at  a window  — under 
is  a verse  one  line  of  which  is  “ Nobody  coming  to  marry  me  ” — it  struck 
me  as  jirotty  well  — though  not  famously  engraved  — try  to  find  it  A see 
how  you  like  it. 


160 


APPENDIX. 


I have  a plats  engraved  some  time  ago  — nearly  finished  — it  is  copied 
from  a print  in  one  of  the  annuals  two  or  three  }^ears  ago  — the  Keepsake  I 
think  — called  “ Juliette  ” from  a picture  by  Miss  Sharpe  — a kneeling  figure 
& a moonlight  scene  — if  it  should  happen  to  please  you  I can  finish  — & 
let  you  have  at  a very  reasonable  price  — 

I think  now  that  I shall  not  be  able  to  do  the  other  last  picture  of 
^Ir  Sully  — 

Yours  very  truly 


I Cheney 


[Address  torn  off.  The  engraving  of  “ Dorothea  ” alluded  to  is  evidently 
the  impression  from  which  the  copy  was  made.  “ Nobody  coming  to  marry 
me”  might  be  taken  to  be  identical  with  “Why  don’t  he  come,”  No.  33 
of  this  catalogue,  if  that  print  had  not  appeared  in  “The  Token”  for 
1834.  Nagler,  “ Klinstler-Lexicon,”  Yol.  X.  (1841)  p.  223,  mentions: 
“ Nicholas,  engraver,  an  English  artist  of  the  present  time.”  The  only  print 
by  him  which  he  describes  is  : “A  young  lady  seen  through  a window. 
0 dear  etc.  1835.  Mezzotint.”  This  would  seem  to  be  the  same  print 
which  John  Cheney  wished  to  copy.  “ Juliette  ” is  identical  with  “ Eeflec- 
tion,”  No.  47  of  this  catalogue,  pub]isfied  in  “ The  Christian  Keepsake,” 
for  1838,  as  engraved  by  John  Cheney.  See  also  the  succeeding  letter.] 


VI. 

Boston  Nov  — 1835 

Saturday 

Dear  Sirs 

I wrote  to  you  three  weeks  ago  by  private  hand  — as  I have  not  heard 
from  you  since  I suppose  that  you  have  not  received  my  letter  — 

I write  to  say  that  I did  not  like  very  well  the  print  ot  “ La  Pensee”  it 
is  a good  subject  & neatly  engraved  — but  it  appears  to  me  not  sufficiently 
well  drawn  & on  that  account  think  that  you  had  best  try  to  find  some- 
thing else— ^Ir  Cushman  does  not  like  it  very  much  either  he  is  more 
please  [sic  !]  with  the  other  perhaps  before  now  you  may  have  seen  another 
that  you  would  like  better  — he  will  be  ready  to  commence  in  a week  or 
two 

I also  mentioned  that  I had  a plate  nearly  finished  — done  some  time  ago 
by  my  brother  — from  a print  in  one  of  the  annuals  (the  Keepsake  I think) 
called  “ Juliette”  — from  a picture  by  Miss  Sharpe  — it  is  a kneeling  figure 
& moonlight  scene  — if  the  subject  should  happen  to  please  you  I can  finish 
the  plate  & let  you  have  it  at  a reasonable  price 


LETTERS  BY  JOHN  CHENEY. 


161 


Please  let  me  hear  from  you  soon  — I am  engaged  on  your  plate  from 
Sully’s  picture 


Yours  truly 


I Cheney 


[Addressed  to  Messrs.  Carey  & Hart,  Phil.®;  stamped  Boston,  Nov.  28. 
The  ‘‘plate  from  Sully’s  picture”  is  “ The  Love  Letter,”  No.  43  of  this  cat- 
alogue, which  appeared,  with  “ Dorothea,”  in  “ The  Gift  ” for  1837,  On 
the  fly-leaf  of  the  letter  is  the  following  memorandum  in  pencil,  evidently 
for  the  guidance  of  a clerk  charged  with  Carey  & Hart’s  correspondence  : 
“ We  have  sent  in  charge  of  Mr  Carter  the  print  of  ‘Storm  in  Harvest’ 
for  Mr  Cushman  — if  he  can  make  it  equal  to  the  original  we  shall  he 
much  pleased — We  must  decline  the  ‘Juliana,’  as  we  believe  with  the 
print  now  sent  we  shall  have  enough  — unless  you  will  copy  Sullys  new 
picture,  in  which  case  we  will  give  an  extra  plate.”  As  no  third  engraving 
by  John  Cheney  appears  in  “The  Gift  ” for  1837,  the  project  of  giving  an 
extra  plate  seems  to  have  fallen  through.] 


VII. 


Manchester  Con.  June 

Dear  Sirs 

Since  I wrote  you  last  I am  relieved  of  some  of  my  work  — or  rather  the 
publication  is  postponed  so  that  I can  put  it  by  — if  I choose  — & engrave 
the  portrait  of  Willis  — If  however  you  can  engage  Mr  Pease  on  it  as  I pro- 
posed — I should  prefer  to  have  it  go  on  so  — but  if  not  — & you  have  not 
engaged  some  other  one  to  do  the  plate  — & still  wish  me  to  engrave  it  — 
I will  do  the  best  that  I can  with  it  — & think  I shall  be  able  to  finish  it 
in  good  time 


Be  pleased  to  drop  me  a line  as  soon  as  you  get  tliis  — so  that  if  it  is 
decided  that  I shall  do  the  work  — I can  let  you  know  where  to  send  the 
picture  — tell  me  also  whether  it  is  a painting  the  size  of  life  a minia- 
ture — or  whatever  else direct  to  Manchester  Ct.  where  I have 

brought  my  work  & shall  remain  a month  or  so 

Yours  very  truly 


John  Cheiicy 


[Addressed  to  Messrs.  Carey  & Hart,  Pliiladelphia,  Pa — . Stamj>ed  Hart- 
ford, Ct.,  June  5.  The  ])ortrait  alluded  to  appeared  in  Willis,  “ Poems  of 
Early  and  After  Years,”  Philadelphia  : 1848.  See  No.  92  of  this  catalogue.] 


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